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Full text of "Volume 40, Number 03 (March 1922)"

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The World of Music 


























































































Page 146 MARCH 1922 


THE ETUI 



jz Summer ^Schools <2. 

Pages 140 to 149—Other Schools and Colleges, Pages 212 to 218 



New York School of Music and Arts 

148-150 RIVERSIDE DRIVE Ralfe Leech Sterner, Director 

Six Weeks Summer Courses for Teachers and Professionals 

ALSO BEGINNERS AND ADVANCED STUDENTS 

May 15th to September 1st 

KAI ES $200, $250 and $300 (according to teacher for private lessons,) which includes board and room, tuition, lectures, classes, concerts, teachers’ certificate, etc. 

CELEBRATED FACULTY INCLUDING 

Frederick Riesberg 


Arthur Friedheim 

. The Great Liszt interpreter who 
during this course will play works of all 
the great masters. 

Paul Stoeving 

The Eminent violin artist, teacher, 
scholar and author. 

Anne Wolter 

Foremost teacher of Dramatic Art 
and Public Speaking. 


Ralfe Leech Sterner 

The well-known voice teacher of the 
heads of voice departments in colleges 
and schools. Also Opera, Church and 
Concert Singers, who will give his course 
of Lectures from Voice Anatomy to 
Grand Opera. 

Frank Howard Warner 

Pianist, Composer and Lecturer. 

Edward Royce 

Pianist, Composer. 


Alexander Pero 

Harmony and Counterpoint. 

Leila Yale 

Public School Music. 

Helen Carmichael Robertson 

Drawing and Painting. 

Alvin Belden 

Classical Dancing—Highly indorsed 

----- by Mary Garden. 

Reed Capouilliez, Voice Eugene Salvatore, Violin p ro f rpnrolw a ^ ~--~- 

Philip James. Pianist MalcolmAK nd T S ’ Dn D ’ Keene Davis ’ V ° icc 

SEND FOR BOOKLET, HEWS AND OUTLINE ' ^ and ^ ° therS - 

MEHLIN PIANO USED 


Distinguished Pianist who studied 
with Franz Liszt, Xavier Scharwenka 
and Carl Reinecke. 

Harold Morris 

Teacher, Pianist and Composer 

Marie van Gelder 


Head of Piano Dept., N. Y. School of Music and Arts 

150 Riverside Drive Telephone Schuyler 3655 

Studied Under 

REINECKE—Classics SCHARWENKA—Style 

LISZT—Technic 

PIANO INSTRUCTION—Interviews by appointment 

Courses arranged to suit the student's individual requirements. 

eraonal Address— 

408 West 150th St., New York Telephone Audubon 1530 


YCEU/V\ 


*OtiS E R.VATO R.Y 

^ ( incorporated) 

ELIAS DAY -^ectot of Dramatic 

ANNOUNCES epartment 

A Summer Master School 

June 19 to July 29 (Six Weeks) 


interpretation and repertoire 

For Students, Teachers and Professionals. 

Mr. Harrison • Mr ' Harrison ’ s time is in great demand. Please make 
early application. 

(President and 0 *rganTzer >r of B OURCARD 

Supervisor of Music in the Louisvii^TublTc^SchonlsA 88001841011 aD<1 
as part of thesummefiua^e^T 6 , in PP BLI C SCHOOL MUSIC 
fine Teaching, Sight Reading and < Fnr ? our ?5 includes Teaching Methods, Prac- 
Musie. hate# Orchestration, History of 

atte, teaU »‘“e e8 and Dramatic Art will be in 



, " ul1 ' iHKen auring the su 
and Degrees. 

Studios and Dormitories in 
North Side Art Center. 

Write to-day for Special S 
Dearborn St., Chicago. 


r will be credited on regular courses. Diplomas 
own building ideally located in. the heart of the 
ner Bulletin. Address Dept. R. S„ 1160 North 


MacPhail Sch ool 
of Music 

806 Nicollet Ave., Minneapolis, Minn. 

Over 4000 Students Enrolled at Present 

OSCAR SEAGLE, Distinguished Voice Teacher 

- „ve MacPhail Schcc, ,„ m April 2 ™" 

Summer Session June 19 th to July 31 st 
Fall Term Commences Sept. 11 th 

J Bes. Pubiic Sc h„ o1 Music Course i„ America. 
§One hundred teachers including ma „y of national 
reputation^ 1J Low tuition rates, f Certificates, Diplo- 

deo n ? e r Ce j reC ° 9niZed by S * ate Questional 

partments. Graduates m demand as Teachers, Sym¬ 
phony Players and m Lyceum and Chautauqua work. 

dormitory accommodations 

$6 to $8 per Week 

ILLUSTRATED CATALOG 

MAILED upon request 


!e mention the 


THE ETUDE 


MARCH 1922 Page U7 


Summer Master School' 


JUNE 28 to AUGUST 8 

(SIX WEEKS) 57th YEAR 

SUMMERFACULTY: 

PROF LEOPOLD AUER HERBERT WITHERSPOON OSCAR SAENGER 'RICHARD HAGEM AN 

Master Violin Instructor of tb. World Famous Singer and Teacher Celebratedjocal ^huctor No?ed Coach and Accompanist 

PERCY RECTOR STEPHENS PERCY GRAINGER FLORENCE HINKLE CLARENCE EDDY IVAN TARASOFF 

Notable Teacher of Teachers the Renowned Pianist America’s Foremost soprano Dean of Amer.can Organists a “‘‘dlnterpmtWe Dancing 


VIOLIN 


FREDERIK FREDERIKSEN 
MAURICE GOLDBLATT 
VICTOR KUZDO 
RUDOLPH REINERS 
RAY HUNTINGTON 

ORGAN 

C. GORDON WEDERTZ 
HELEN W. ROSS 


PIANO 

EDWARD COLLINS LOTTA MILLS HOUGH 

MOISSAYE BOGUSLAWSKI HARRY DETWEILER 

MAURICE ARONSON C. GORDON WEDERTZ 

MAX KRAMM BARTON BACHMANN 

VOCAL 

EDOARDO SACERDOTE JOHN B. MILLER 

MRS. OSCAR SAENGER ROSE LUTIGER GANNON 

**MME. DELIA VALERI EDOUARD DUFRESNE 

JOHN WILCOX EDITH W. GRIFFING _ 

BURTON THATCHER GENEVRA JOHNSTONE-BISHOP 

MABEL SHARP HERDIEN THEODORE KRATT 

HARMONY, COMPOSITION, COUNTERPOINT, CANON and FUGUE 

FELIX BOROWSKI BARTON BACHMANN PAULINE HOUCK 

LAURA D. HARRIS HAROLD B. MARYOTT 

SIGHT READING, EAR TRAINING, SOLFEGGIO 

HAROLD B. MARYOTT 

Classes in the Art of Accompanying and Conducting Italian 

(Vocal, Violin, Opera, etc.) 

RICHARD HAGEMAN 

Toe, Ballet, Interpretative and Classical Dancing 

IVAN TARASOFF 

Opera Classes (Repertoire and Action) 


REPERTOIRE—INTERPRETATION CLASSES 

HERBERT WITHERSPOON (Vocal) PROF. LEOPOLD AUER (Violin) 
ngp ap tiFum? iVnrait LEON SAMETINI (Violin) 

OSCAR SAENGER (Vocal) PERCY GRAINGER (Piano) 

RICHARD HAGEMAN (Vocal) BURTON THATCHER (Vocal) 

TEACHERS’ NORMAL COURSES 


PIANO 

PERCY GRAINGER 
JULIA LOIS CARUTHERS 
UNIVERSITY COURSE 
VIOLIN 

PROF. LEOPOLD AUER 
MAX FISCHEL 


VOCAL 

OSCAR SAENGER _ 

HERBERT WITHERSPOON 
PERCY RECTOR STEPHENS 
BURTON THATCHER 
HAROLD B. MARYOTT 
DANCING 

IVAN TARASOFF 


RICHARD HAGEMAN 


entedtT A 


_J, Mr.; 

ard a Free 


AMEDEO C. NOBILI 

French 

EDOUARD DUFRESNE 
School of Acting 
WALTON PYRE 
enger, Mr. Witherspoon. Mr. Hage: 
;holarship to the student who after i 
:ion blank on request. Complete 


EXPRESSION and DRAMATIC ART 

WALTON PYRE 

HI F S EL?X ^OROWSKI 1C ENSEMBLE PLAYING 

ORCHESTRATION LEON SAMETINI 

FELIX BOROWSKI (Chamber Music) 

Mme Valeri. Mme. Hinkle. Mr. Grainger. Mr. Tarasoff and Mr. Eddy have each 
a oDeh competitive examination is found to possess the greatest gi/t far singing or plarnng. 
immer catalog on request. Lesson periods should be engaged now. Private and Class 


Free Scholarships 

DORMITORY ACCOMMODATIONS *" ""YaLL SES^Sn OPENS SEPTEMBER 11 . o 0 , REQUEST 

** Mme. Valeri is under contract to teach for the next two summers in the Chicago Musical College bummer Master bchool. 

* Mr. Hageman is now a member of the faculty throughout the year. 

Chicago Musical College 620 S. Michigan Ave., Chicago, Ill. 


FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus RICHARD HAGEMAN, Vice-President CARL D. KINSEY, Manager 


jfa Bush Cc 

Wmmm KENNETH M. BRADLEY, Pres. j 

An Institution i 

Accredited Courses in 

Expression JIM TTOT/"* Opera 

Languages JJ jl V Dancing 

Leading to Certificates, Diplomas and Degrees 

mservatory 

E"HC^.A.Gr^) EDGAR. A. NELSON. Vice Pres. 

H. SCHWENHER, Sec’y. 

of National Prominence 

SUMMER. SESSION 

Three Terms 

Five Weeks, June 28th to August 2nd 

Eight Weeks, June 7th to August 2nd 

Ten Weeks, May 24th to August 2nd 

NORMAL COURSES 

Piano, Voice, Violin, Public School Music 

Courses consist of 20 hours Methods. Materials and Technic. \ Summer Normal Course 

15 hours Harmony and Theory. 1 5 hours Ear Training and 

Sight-Singing, 10 hours Interpretation Class. Lectures on ) SfTh ^ 

Musical History, Pedagogy. Round Table Demonstration of (1(1 

Children’s Work. Weekly Artist Recitals, etc. ) V 

Master Interpretation C 

PiailO: Mme.JulURioe.King VoiCCS 

Application for membership n 

I TNSURPASSED FACULTY of over 85 teachers, including many 
\J of international reputation. 

Charles W. Clark Jan Chiapusso Edgar A. Nelson 

Boza Oumiroff Mme. Julie Rive-King Richard Czerwonky 

Gustaf Holmquist Mme. Ella Spravka Bruno Esbjorn 

Herbert Miller Edgar A. Brazelton Rowland Leach 

Mae Graves Atkins John J. Blackmore Grace Walter 

Mme. Justine Wegener Mae Riley McKinley Robert Yale Smith 

Arthur Kraft Cora Spicer Neal William Nordin 

lasses Frec Edgar A. Nelson, Dean 

Boza Oumiroff Vinlin . Richard Czerwonky 

Charles W. Clark ▼ 1VJJLII* • Bruno Esb/orn 

lust be made before June 17th 

THE ONLY CONSERVATORY IN CHICAGO MAINTAINING DORMITORIES FOR WOMEN AND MEN STUDENTS 

Attractive environment and great convenience for the summer student also a saving of time and money. 

Rates for Room and Board $9 per week and up. ““ — 

Fall Term Begins September 11th, 1922 

Address: T. K. Jones, Registrar 839 North Dearborn Street, Chicago, Ill. 















































































































Page U8 MARCH 1922 


C OLUMBIA SCHOOL 

OF MUSIC 

CLARE OSBORNE REED, Director 

Summer Normal Course 

AT CHICAGO 

Piano, Theory, Voice, Violin 
Normal Training 
Public School Music Methods 

Resident Faculty of 60 Eminent 
Musicians Recitals and Lectures 

NORMAL TRAINING 

F It n F ° r l eaCh ,Z S ^ th ° Se P re P ar * n S to teach 

Shifr“ n r" W ;j ks - M “? « to July 22—$115 to $145 
Short Course Five Weeks-June 19 to July 22-290 to $105 


Full Course 

10 Private Piano lessons 

5 Class lessons, Interpretation 

1U Llass lessons, Technical Prin¬ 
ciples 

S Class lessons, Keyboard Har¬ 
mony 

10 Private lessons, Keyboard 
Harmony 

S Class lessons, Teaching Ma¬ 
terial 

10 Private lessons, Child Train¬ 
ing 

}n lectures, History of Music 

10 Demonstration Classes, Child- 
Work 


Short Course 

5 Private Piano lessons 

5 Class lessons, Interpretation 

10 c «ss lessons, Technical Prin- 

5 Class lessons, Keyboard Har¬ 
mony 

S Private lessons, 

Harmony 

S Class lessons, Teaching Ma¬ 
terial 

5 Private lessons, Child Train¬ 
ing 

10 Lectures, History of Music 

5 Demonstration Classes, Child¬ 
ren s Work 


PUBLIC SCHOOL MUSIC METHODS 

Supervisors’ Course-Five Weeks-June 26 to July 29 
Complete Course — $50.00 

5 hours a day—5 days a week—5 weeks 

Choral Conducting Rot^&imr 6 Chorus Conducting 

Sight Reading Historv of Community Singing 

Ear Training Orchestra fe t Lectures and Recitals 

Harmony ing Conduct- Certificate for three 

•-___- ; _ _ _ Summers’ work 

INTE Ml’rar T UHQ 0! !! CLASS F0R PROFESSIONAL 

MUSICIANS Conducted by Walter Spry 

This Class is included in the Summer Normal Training 

?h et h ti0n Cfr ° r ^ an ° Teachers^ BMideTT^horough't ^ C ' asses . Inter ’ 
the best masters in this country and Europe M r f e,ved from 

years teaching experience. During this time h. S u y i haS h ? d twent y- fi ve 
modern ideas of technic and haq g hm,c iV™ 6 - h las . ke Pf ln touch with 
of all the periods of Classicand^ MoZn prEnn?'^ includi ”S 
will be Mr. Spry’s introduction inh°s Lssons = ee V • " UnUSUaI feature 
mg material by the best American writers Th i amou . nt of teach- 
h 6 ° f t a I ery P rac t>eal nature for teachers who^vfsh to add’ « 11 therefore 
bers to their curriculum and have new [de^s of bf ? dd attra< i tlve num ~ 
from a pedagogical standpoint to thei/stude^ PreSent thjs matter 

Summer School Circular Mailed on Request-Address 

COLUMBIA SCHOOL OF MUSIC 

Dept. 460 509 South Wabash Avenue Chicago 


the etui 

/O T“® MARY W 00 D CHASE/CH®°L 

©Fi^USigAL ARTS 

SUMMER CLASSES 

June 5th to June 30th, 1922 

MASTER CLASSES FOR PIANISTS WITH MARY WOOD CHASE include 
Coaching for Concert Pianists; Lectures on Interpretation; Modem Pedal 
Technic; Impressionism in Music; Relation of Technic to Interpretation; Tone 
Production, traditional, scientific and artistic. 

CLASSES FOR TEACHERS INCLUDE Methods, Ear-Training, Keyboard 
Harmony, Preparatory and Harmonic Technic, Teaching Material, Discussion 
of the teacher’s problems, the development of musicianship and technic through 
musical composition, stimulus and incentives for home work. 

Prospectus upon request 


F». IVT. I. 

Special Summer Course for Teachers 

every opportunity tor the training of teachers. 
PITTSBURGH MUSICAL INSTITUTE Inn 
131-133 Bollefleld Avon up, P it,.burgh, P.. 

GUST AVE L. BECKER 

CONDENSED* SIMMER NORMAL 

On* or the No to re*! InUn.lv. Technic! Tnlnln* 

(Application or , 


■k City 



f Mr. Cranberry will direct the Univenity of 
Georgia Summer School of Music June 26th 


now to Co-ordinate. 

| Address Carnegie llall, no. New 


MATTIE D. WILLIS—Annual Summer Normal Classes 
Punning System of Improved Music Study for Beginners 

NEW YORK CITY Thi ‘J successful teaching system ha. enabled many 
JUNE 26—AUG. 14 ° “ th '‘ r lncome8 - Wr ' t<; for information. 



Professional Directory 


eastern 


WESTERN 




cotrasE or music sti 

Kindergarten and Prii 
UepLU. 246 Highland Ai 


burrowes 

CH, CAG0iggn:« 
CINCINNATI SS5»'3a?i 
1 COLuTBIA^-^rs 
: DETROIT 
DETROIT 


C0N8BRVAT0RY OP MUSIC 
i ao *» l®, 00 Student*. SO Tewob'n 
1013 Woodward Av*., Detroit, it 


SNUNDERsi ^T.t ta:;^ 

: TOMLINSON i 


: western SSS 


Please mention THE ETUDE when addressing our a 


BRYANT 
CONVERSE cnT i 


THE ETUDE 


MARCH 1922 Page Dj.9 


SUMMER MASTER COURSES 


JOSEF 


June 26 to July 29, 1922 


LHEVINNE 

World-Famous Piano Virtuoso 

Private Lessons, Repertory and Teachers’ Classes 


WILLIAM S. 

BRADY 

One of America’s Foremost Voice Teachers 

Private Lessons, Repertory and Teachers’ Classes 

GEORGE GARTLAN 

Director of Music, New York City, will conduct a Post-Graduate Course in PUBLIC SCHOOL MUSIC 

JACQUES GORDON WILHELM MIDDELSCHULTE 

Eminent Violinist Greatest of American Organists 

Concert Master Chicago Symphony Orchestra 

QI IM1V/IFR NOR 1V/| A I QRQQION ofSIX WEEKS, from June 26 to August 6, 1922, in all branches of 
lYUTH-dlx INC/IMVlrtLi music and dramatic art. Faculty of 95 artist - instructors. Special 

course in PUBLIC SCHOOL MUSIC for post-graduates and beginning courses. Recitals, lecture courses. Many free advantages 
— moderate tuition rates—excellent dormitory accommodations. 

FREE SCHOLARSHIP —Awarded by Josef Lhevinne and William S. Brady by competitive examination 
Send at once for free scholarship application blank 

Summer prospectus mailed on request For detailed information address 

AMERICAN CONSERVATORY OF MUSIC 

571 KIMBALL HALL, CHICAGO John J. Hattstaedt, Pres. 


Unusual Programs can be Arranged on 

The Music the American Indian 

The Beauties of Many American Aboriginal Tribal Melodies have been Recorded 
and Harmonized by Such Writers as THURLOW LIEURANCE and CARLOS 
TROYER. A Program of Songs, Stories and Legends of the American Indian, 
or an Indian Music Lecture, Makes a Unique and Most Interesting Offering 
that is Instructive Yet Delightfully Entertaining. 

Vocal Numbers by THURLOW LIEURANCE in which Tribal Melodies of the Sioux, 
Chippewa, Pueblos, Cheyenne, Navajo, Winnebago, have been Harmonized 
and Ideal' 







Indian numbers lor Chorus. Piano, Violin, Flute 
or 'Cello as well as a complete list of songs are 
giren on the folder entitled “Hidden Beauties 
in the Music of the American Indian.” A Postal 
Request Will Bring You This Helpful Folder. 


Practically all of these songs have introductory text telling of the legends 
upon which they are based and the tribal melodies utilized. 


THEODORE PRESSER CO. 


CHESTNUT ST. 


Philadelphia, Pa. 


* ’ 

ih4 M( 

till 

9 7M Invocation**to the".Sun-^ 

.5368 Midnight Visit to the 

Sacred Shrine.Low 

9784 Sunrise Call, The, or 

Echo Song ..Low 

9793 Sunset Song .Low 

INDIAN MUSIC LECTURE 
By Carlos Troyer-Price, 50 cent 

_ An outline of Zuni customs, music, etc., 
giving*^ lecture oyo* this'bmk wilf 


Please mention THE ETUDE when addressing o 




































































































































’ STUDS 


flo-jZi^gA£A%Ol! 


says Jo 


HE M *'cal Akko 
*•*■«£**<*»»* 
'■"*»» ■C 1 '* 


Nov, 


'ember 


81 * i9Sl 


From actual photograph. Mr. Freund seated right, Mr. Flechter left Mr 
Volpe standing. The instrument an Official Laboratory Model, Chippendale. 

V ASA PRIHODA’S New York 
Recital, given October 16th, in Aeo¬ 
lian Hall, before a crowded auditor¬ 
ium of music devotees and music critics, 
enthroned this youth as one of the superla¬ 
tive violinists of the century. 

John C. Freund, who wrote this heartfelt 
tribute to Mr. Edison for perpetuating 
rrihodas genius, is editor of “Musical 
America” and president of the Musical 
Alliance of America,—one of the grandest 
figures in American music. 

His colleagues are Victor S. Flechter, the 
recognized authority, in America, on violins 
and violin-tone; and Arnold Volpe, one of 
the best-known violinist-conductors’ These 
two experts substantiated all that Mr. Freund 
said. 

Men, who have devoted their lives to thi 
cause of good music, acknowledge there is 
no difference between the original perform- 
a / lce . , 0 ^ art * st ar, d its Re-Creation by 
the New Edison. 


to the 


V ISIT your Edison dealer, and compare 
Prihoda, on the New Edison, with any 
violinist who records for other phonographs 
or talking-machines. 


° Fp ' Ce t He 

ANo eo/To** 8 ' 05 *! 

(w ^ a °mas a 

°' ar 

s ove ; 

? oStfnnon 

i as <*V° 

Sit £*,** °!& x !*'**!!?** 1 

t0r the Pllal *- 

Jc ^cs V6 ^ tr al 

y y °ar a 



R. EDISON'S 
$10,000 

? 

FOLDER 

ANNODNCINI 

FREE 

WINNERS 

AT YOUR 

EDISON 

DEALER 


%e NEW EDI 



ANNUAL SUBSCRIPTION, $2.00 


TH E ETUDE 

MARCH, 1922 Single Copies 25 Cents VOL. XL, No. 3 


To the Music Clubs of America 

Organization and Democracy are two outstanding traits 
of Americans everywhere.. Possibly we inherit our club build¬ 
ing instincts more from our Anglo Saxon progenitors rather 
than from the other lands. Yet, on the continent of Europe 
the getting together spirit is ancient indeed, especially m 
music. What were the Meistersingers but musical clubs? 

The Music Clubs of America, however, have developed in 
such a way that the European is amazed at their growth. The 
first thing an artist experiences on his first American tour is, 
that the musical society of the towns and the cities he visits is 
so organized that the barrier between the stage and the audi¬ 
ence is almost totally destroyed and he is taken right into the 
hearts and the homes of his auditors. 

Dr. Richard Strauss on his return to London from Amer¬ 
ica was asked to comment upon American music. His first 
remark had to do with the wonderful work of musical clubs, 
mentioning especially the Matinee Musical of Philadelphia and 
the Music Club of Columbus, Ohio. We are proud to have 
the splendid women who have had much to do with the up¬ 
building of these particular clubs as contributors to parts of 
this issue. . , 

There are, of course, a vast number of musical clubs not 
in the National Federation of Musical Clubs. We believe that 
they ought to receive the benefits of the National organization 
and in turn contribute to it. 

An Apology and An Appreciation. 

First, we want to thank the many, many club leaders who 
have so unselfishly helped us in the preparation of this issue. 
Without their aid it would have been impossible. On the other 
hand, we want to confess that we were soon overwhelmed with 
the enormity of the work, the impossibility of including in 
one issue more than a fraction of the recognition we should 
like to have given to deserving workers. We are human and 
we realize it quite as much as any of our possible critics. We 
have done our best with this issue and we hope that at some 
time in the future we may have an opportunity to do better. 
The whole subject of clubdom is so big that we continually 
felt in the position of Rastus who was asked to tell how he 
hunted the bear. “T’warn’t no use for me to cotch dat bar, 
for before I know it, it dun gone cotched me.” 

What about the Golden Hour ? 

One year ago The Etude presented in its columns an 
ideal which seemed one of the most important matters of the 
time. We called it “The Golden Hour” and it immediately 
received the most enthusiastic support of many of the ablest 
thinkers of our land. 

Since that time we have not pressed the subject, as most 
of all, we desired to avoid any thought that it was the project 
or propaganda of any one group. Fortunately the ideal met 
with widespread approval and we are constantly receiving 
letters telling us that the plan is being agitated in all parts of 
the country and that it is being put into operation in various 
forms adaptable to the various communities. 

In this, the music clubs have taken a splendid part and 
continue to do so. For this reason we are mentioning the 
matter again in this issue. 


For those who may be unfamiliar with the plan we shall 
be very glad indeed to send the original outline without cost. 

, More than this, we are ready to supply these in quantity to 
club leaders who desire to do a little missionary work for this 
splendid and all important object. 

“The Golden Hour” tersely expressed, is a non-sectarian 
outline for regular training in character building in our pub¬ 
lic schools, the plan being a part of the regular daily musical 
“exercises,” long a feature of the educational system of 
America. 

Unquestionably, the best means of inculcating character 
is in the home and through religious advisors; hut we are liv¬ 
ing in an age when little attention is being given to such sub¬ 
jects and literally millions of children are at this time forced 
to depend upon sensational newspapers and often dangerous 
moving pictures for their character foundation. 

The day school encompasses most of the children, and 
work of this kind may be the salvation of our whole social 
structure. Does not this era of banditry point out to you 
that, as a citizen, there is nothing more important for you to 
do than through some such means as this build a bulwark 
against the enemies of society and build that bulwark in the 
very souls and hearts of your children. If it is not built there 
millions of police cannot combat the evils of tomorrow. 
Just think it over. 

The Etude wants to do its part, but its part must be a 
mere drop in the. bucket. The music olubs can help enormously 
if they will take up this work with the zeal of Joan of Arc. 
The French martyr had no nobler object. 


American Music and Attempted Monopolies 

American club women have fought a magnificent fight 
to elevate the character of music in the public schools. They 
also realize that there ought to be some way in which talented 
children, may receive credit for the musical work done by them 
out of school- hours, rather than having the school authorities 
take the old fashioned attitude that time spent in music study 
was an interference with the legitimate work of the school. 

■ These purposes are most commendable and thoroughly 
legitimate. However, it was not long before the makers of 
proprietary systems of exorbitantly expensive books began 
to try to make capital of the works done by the clubs. Several 
manufacturers of such systems worked in highly subtle and in¬ 
sidious manner to introduce their works in such a way that 
their books would be used to the exclusion of all others. The 
profits were prodigious and they were willing to take any risk 
to gain a point. 

Teachers all over the country were repeatedly threat¬ 
ened in this manner. “Your State is going to adopt this sys¬ 
tem and unless you teach this and none other you will be 
obliged to give up your work, because the student who is unable 
to pass this particular system will receive no credits and your 
standing as a teacher in this community will be nil.” Many 
timid folk were actually frightened by this bugaboo. Such 
teachers never seemed to realize the fact that Americans sooner 
or later are determined to have their dealings on a basis of 
fair play and that all attempts to create monopolies in this 
country have ultimately been smashed by the will of the people. 


Slogan of the National Federation of Music Clubs 
A Music Club in Every City, in Every County, in Every State in the Union and Junior Boys’ and Girls’ Clubs—Auxiliary 


1S1 

































































All systems contain some good points but there is no one 
system which the artist teacher or the teacher of beginners 
with ideals, independence and character is willing to have 
fastened on with the command, “Here you take this and have 
nothmg to do with anything else.” Suppose some one should 
come to the School Commissioners of your community and 
persuade them to turn over the complete School course to some 
proprietary firm of book manufacturers. Can you imagine 
the howl that would arise? Can you imagine what kind of a 
reception the agent of any such firm would receive? 

The American teacher demands the greatest possible 
freedom and elasticity in the methods that he uses. He does 
not propose to be handcuffed by any firms demanding that he 
use their wares and no others. Epecially does he resent the 
insult of having the state proscribe or in any way indirectly 
or directly support private ventures to the exclusion of others. 
»uch things he holds beneath contempt. 

As for the certificates and diplomas granted by publish¬ 
ing firms by correspondence, they are often much of the nature 
of a complete swindle. The student purchasing such a sys¬ 
tem sold upon the reputation of a few famous names, assumes 
that he is having his papers etc. examined by the musicians 
advertised. The great majority of the examinations are 
supervised by clerks, much after the manner of the patent 
medicine manufacturers, who prescribed by mail for thou¬ 
sands of victims who thought they were getting the advice of 
celebrated specialists. 

On the other hand, the Club Women of America can do 
their best work by upholding the highest in American musical 
education irrespective of the doubtful publishers, making a 
tair field for all teachers and publishers and refusing to per¬ 
mit those whose motives are largely monopolistic to pan off 
their money-making merchandise as though they were work¬ 
ing for a great public good. 


Schubert on Broadway 

When Franz Schubert died it is reported that all that 
he owned in the world was valued at about eight dollars. The 
inspiration that he passed on to mankind could not be measured 
in millions. More than this, the actual income derived by 
artists, teachers, producers, publishers, writers, painters, etc 
has resulted in many, many fortunes. Schubert would have 
been regarded as a Croesus in his time if he could have “rea¬ 
lized” on his product. Just now he is appearing on Broadway 
in a comic opera made up in part from his immortal melodies 
Surely never in his wildest dreams could Schubert have imagined 
such a fortune as this comic opera will pay its managers. Poor 
Schubert dying at the age of thirty-one, in literal pov- 
erty, and leaving a musical Golconda to mankind. 

Fate makes a sorry deal to some composers. Now and then 
we find men and women who manage to make and hold fortunes 
by writing music. Others fail miserably although they produce 
masterpieces. One cannot hope for success in all directions. 
Schubert was one of the great successes of the ages as a mu¬ 
sician, although he was a total failure in everything that per¬ 
tained to providing for his own interests. The case of Moszkow- 
ski is that of a present day Schubert. Fortunately, friends of 
the art in America are coming nobly forward to avoid another 
shame. 

The Smell of the Lamp 

In this age when every child is exhorted to study and work 
work, work a dozen times a day, may we not be making the’ 
mistake of not leading him to depend a little more upon in¬ 
spiration, upon the spirit within that works unconsciously 
when the intelligence is properly directed. Plutarch tells that 
Pythias, when he was making fun of Demosthenes said that “his 
arguments smelt too much of the lamp.” We are continually 
hearing playing of that sort. The study, the hard work the 
conscientious application is evident, but alas the soul is a thous 
sand miles away. 


A Little Tolerance 

In one of the many interesting letters that come to the 
Editor’s desly a correspondent sent the following beautiful 
lines attributed to Henry Ward Beecher: 

“If we knew the inner soul of each man, we should 
discover enough sadness in every life to disarm all 
unkind feeling.” 

We believe in passing along kindliness. Perhaps when vou 
think your teacher is cross; perhaps when your musical asso¬ 
ciates seem irritable, they are bravely carrying a burden of 
smouldering agony far greater than you know. Be a little 
tolerant. It is always best. 


The Real Thing in Music 

Rugged-minded John Milton, poet, statesman and 
musician was admittedly one of the greatest constructive 
minds of history. 

From epic heights he divined great human truths which 
have ever since been a guide to the race. 

Aet, he was first of all an educator. His writings unon 
education show his characteristic, penetrative insight 

In discussing the acquisition of many languages he 
pointed out that the mere ability to think in different I, rms 
was not thought itself. 

His fear was that students, by learning to speak mnnv 
tongues ancient and modern, might not learn the real ess,,,'- 
XL ” in tl,eir cffor,s “> «<•' • linguistic tc l,- 

capti^e > The t beginner^s r reai e musicallMerestf* nft ^ e "“H" 61, 

some books tind sysWraX^ Ce Ton 0 " that tcachers a " (1 
pandering is there to interest that th^ K T**' S ° nwh 
to a point of tedium that *5® wh °! e work is delayed 

and makes the adult indignant * ^ patlCnce of the child 

method tS? 

practical graded material is * 


The j TheArtof the Cadenza 

lfl E cadenza is purely n v,V+ 

mal purpose was to afford the I TJ' C ° ntriva "^ Its orig- 
play his tour de force in such a ™ * an opportunity to dig- 

>»«<e hi, ri „ k 0n ^ he , ccU to 

a certain measure in which the art t • ,* 10 Custom to insert 
show his technical stock in trl de fed at Kberty to 

Some of the historical ‘ 

mu,ie were un,«,tio„,bl v verv'T l",?'*" 0 iu violin 

g»« on w find edition/ p ?’ ed b rJft,, lndMd . A> , imc 

cadenzas. C.,1 Rcineckc L”, '»«>» demanded 

forty-two movement, of piano-f„l e " °' C »denz™ to 
hoven, Mozart, Weber etc. * C ° ncertos by Bach, Beet- 
In modern composition the 

antiquated to appeal to composers TV ^ S °° med too 
vocal music. J ust when thp \ J J^ns is especially true of 
we do not know, but in the olden Tv ' 
famous one ,n„g b y Agujari J? day, surf, eadenza, „ ,l le 
above the treble staff) were ,11 , * hl gb C (sis 

cirrus of the day. • «gular part „f t £ e „ p ££ 


THE ETUDE 


MARCH 1922 Page 158 





r^BEST/T 

in,^ e SIC 

i uoME, SCHOOL,theatre,? 

i CONCERT HALL, 1 

MUSICAL re.cor.ds, 
PRINTED MUSIC, 
- jOURNA^Sy^ 




What is the Most Important Work to Which the Music Clubs 
of America may Devote Their Efforts? 

A Nation-Wide Symposium 


Leopold Auer 

Eminent Violin Master 

To unite in sending a petition to Congress for the 
establishment of a National Conservatory in New York, 
Chicago and San Francisco to enable poor but gifted 
students to obtain, free of cost, musical education of the 
most superior order. 

Mrs. H. H. A. Beach 

' American Composer 

To study American compositions, and constantly strive 
to promote the study and enjoyment of all good music 
in the home. 

Edward W. Bok 

Editor and Publicist 

The education of our children to an appreciation of 
the best music. 

Lucrezia Bori 

Of the Metropolitan Opera Company 
The encouragement by the . Government of young 
music students by means of scholarships for study in 
Europe. 

Sophie Braslau 

Of the Metropolitan Opera Company 
The establishment of free National lecture courses on 
music, the drama, sculpture, and literature. 

Alice Bradley 

(Mrs. Arthur Bradley, President) 

State President Ohio Federation of Music Clubs 

To become Working Force for Music—for self culture; 
good school music, Music Credits, Musical Contests; 
Music Departments in Libraries, with reference books, 
magazines, and scores; chorus singing, local orchestras, 
and concerts by great artists. 

Mrs. David Allen Campbell 

Editor of The Musical Monitor 
To unify all forces that are working for musical 
culture, so that more opportunities may be given to the 
thousands of young artists that are thoroughly equipped 
to enter the profession. This work by the clubs will 
stimulate education, appreciation, and provide oppor- 
tunity for the worthy. 

William C. Carl 

American Organist 

The Music Clubs can best create a higher appreciation 
for the best in music, and influence students for a more 
thorough and comprehensive study of the art. 

Charles Wakefield Cadman 

American Composer 

Useless to attempt making ‘.'America musical” when 
it is “grown up.” Concentrate on better school music 
and the Junior Music Clubs. 

George W. Chadwick 

Director New England Conservatory of Music 
The foundation of musical culture must come from 
music in the home, made by the family. Who can better 
promote this than the Music Club? 


Mario Chamlee 

Metropolitan Opera Company 
Governmental subsidy for graphaphone concerts, as 
the graphaphone is the most powerful agent to-day in 
the spreading of musical culture. 

David Scheetz Craig 

Editor of Music and Musicians 
Music clubs should stand for good music, outline 
community programs, stimulate students, foster local 
talent, give artists’ concerts and sponsor auditoriums. 

Mrs. Rossetter G. Cole 

President of the Society of American Musicians 
Educating the community by presentation of the best 
music, through giving recitals, through lectures and 
study classes, through demanding the best in school and 

Frank Damrosch 

Director Institute of Musical Art 
To cultivate good music instead of worshipping well 
advertised artists; to honor the artist who places his 
art before himself. 

Dr. Hollis Dann 

Director of Music, Department of Public 
Instruction, Commonwealth of Pennsylvania 
Purpose —Better vocal and instrumental music in 
Public Schools, credited. 

Procedure —Advocate trained leadership, adequate 
equipment and sufficient time allotment. Give concerts 
in schools. 

Results —The best possible avocation; a truly musical 
community. 

Mrs. George Houston Davis 

2nd Vice.President N. F. M. C. 

The greatest purpose for music clubs is school music, 
public, private, rural and urban, since in the children 
lies the future of music in America. 

Florence Easton 

Metropolitan Opera Company 
Give the people music they can understand, in a language 
they can understand, at prices they can afford to pay, 

Thomas A. Edison 

World-Famed Inventor 
To urge that all the children in our American homes 
shall be taught to play a different musical instrument. 

Henry T. Finck 

Noted Critic 

Mediocrity is the curse of art. Music clubs should, 
try in every way to aid the survival of the best. 

Arthur Foote 

American Composer 

Besides the general cultivation of themselves and their 
communities, the women’s clubs can do their great service 
by always including worthy American compositions in 
their programs (but not framing the latter as exclusively 
American). 


John C. Freund 

Editor of Musical America 
Let the music clubs devote themselves to developing a 
love for music in their own territory and bring out their 
own talent, instead of relying wholly on talent from 
elsewhere. 

Bessie Bartlett Frankel 

Director Department of American Extension 
National Federation of Music Clubs 
Establishing musical appreciation classes in rural 
schools. Clubs touch at the heart of the nation, thus 
developing finer instincts in the child and gaining wider 
cooperation from the masses in the furtherance of 
music. 

Ossip Gabrilowitsch 

Conductor Detroit Symphony Orchestra 
It seems to me that the greatest purpose to which the 
music clubs of America can devote their energies is 
to foster enthusiastic and earnest interest for music 
among the young. By this I mean the establishment 
of some united system by which music would become 
part and parcel of school education in as many schools 
as possible, including the establishment of pupil’s orches¬ 
tras in High Schools and children's choruses in Grade 
Schools. An earnest effort should be made to bring 
home to the minds of teachers and parents that music 
is a subject at least as worthy of attention as Baseball 
or Football. 

Rudolf Ganz 

Conductor of the St. Louis Symphony Orchestra 
To promote good music among the school children 
and the young people in colleges and universities and 
thus insure more refinement and sensitiveness of both 
heart and mind in the coming generation. 

Amelita Galli-Curci 

Famous. Prima-Donna 

The creation of a 'National department of music and 
the allied arts by legislation; thereafter interesting city 
governments in establishing and maintaining municipal 
opera companies. 

Mrs. Edwin B. Garrigues 

President Matinee Musical Club of Philadelphia 
. The greatest purpose to which the Music Clubs of 
America can devote their energies is to form Junior 
sections and train all to be intelligent listeners, and to 
encourage and develop the talented student as a Junior 
and Senior. 

Percy Grainger 

Eminent Virtuoso Pianist 
Towards making America conscious of its native born 
creative geniuses while realizing the cosmopolitan scope 
of music; yet to. insist on includ'ng one entire group 
of American compositions on each program. 

Emilio De Gogorza 

Noted Baritone 

To develop the best taste in music in their community, 
thereby enabling their audiences to discriminate between 
the true and the false. 























































Page 154 MARCH 1922 

Josef Hofmann 

Eminent Virtuoso Pianist 

Mme. Louise Homer 

Metropolitan Opera Company 
The providing of paid appearances for young artists 
They often suffer great hardships before ddr repu' 
tations are established. 1 u 

Charles Hackett 

Metropolitan Opera House 
Ar t C *™rl g " f ? r M- e u apP0int m en t of a Minister of Fine 
M Musk eStabhShment ° f a National Conservatory 

Orville Harrold 

Metropolitan Opera House 

An intensive campaign against musical charlatans and 
encouragement of the sincere artists and teachers 

Mrs J. Hambrick 

President Texas Federation 

The music clubs should work to have a music d„h 
every town. The Texas Federation has 90 federated 
clubs. We expect to have 200 before the end of 1923 

Clara M. Hartle 

President Washington State Federation 

development of their own local talent aVthe'training of 
the young musical public of the future. g * 

John J. Hattstaedt 

President American Conservatory of Music 
The chief mission of Musical Clubs is to elevate the 
general standard of musical taste in their respective 
communities. respective 

W. J. Henderson 

Noted Music Critic 

Preventing young persons without talent from study¬ 
ing music with professional intent. y 


■inII h 


Mrs. John F. Lyons 

President National Federation of Music Clubs 
Support and Betterment of Music in Public Schools; 
Adequate Development of Community Music; Sponsor¬ 
ing Good Concerts and Securing Satisfactory Audiences 
for Same. 

John Luther Long 

Author of Madame Butterfly, The Darling 
of The Gods 

Closer association with the other arts—especially that 
of the dramatist, librettist—that the Art Empire may 
the sooner arrive. 

Alberto Jonas 

Eminent Virtuoso Pianist • 

Tear out the weeds. Plant, lovingly, Bach carnations, 
Mozart hllies, Beethoven roses, Schumann violets, Chopin 
lilacs, Liszt chrysanthemums, Brahms orchids. 

Osbourne McConathy 

President Music Teachers’ National Association 
May the Music Clubs of America hasten the days 
when good music shall be one of the chief joys in our 
family, social and community life. 

Giovanni Martinelli 

Metropolitan Opera House 

endowed*™”^'!? 1 “ Iarge city of municipally 

endowed opera houses and theatres. 


'JVDR 

Harold Randolph 

Director Peabody Conservatory of Music 
To strive to keep alive the music in the homes f 
the tendency is to leave it more and more to prof ° r 
sionals; and, to encourage and assist young artists 
real merit, who might otherwise be strangled at arL t° 
birth by the prevailing conditions in the mam. . •? 
business. g nal 

James H. Rogers 

American Composer 

To my notion, the best service women , clubs ca 
render American Music is to induce orchestra conduct " 
to perform strictly American works. Song compos°" S 
have nothing to complain of; we have no great amount 
of music for piano suitable for concert. But we have 
orchestra music. Let’s hear it! 

Mrs. J. H. Rodes 

Director Missouri Federation of Music Clubs 
Federate, that big things may be accompl, bed which 
singly, cannot be done. wnich, 

Mrs. Frank A. Seiberling 

The Music Club, by realizing not on!. i, s , oca , 
leadership, but its national obligation through I . deration • 
by aiding rehg.ous, civic and educational . :i,.r, 5 

make America a musical nation. 


Mrs. John Lamar Meek 

President Dixie District, National Federation 
.of Music Clubs 

stateTupe“te n r?-To" 0 COrapu,s0 >- y « schools; 

to genuine AmeH^S **** 

Helen Harrison Mills 

Director Department of Publicity, The National 
Federation of Music Clubs 
Concentrated effort to interest municipal authorities in 


Victor Herbert 

To foster music in the schools of the land by stimu 

»<*. £. 

Mrs. John S. W. Holton 

President of The Philadelphia Music Club 

id^ e u aVe ^ ge , MuSiC Qub shouId have for its highest 
rnomis' 16 deve,opment and successful launching of the 
promising young musician. 

Elizabeth Hood Latta 

President Pennsylvania Federation of 
Music Clubs 

zzszt cr g ”x To ■-* 

Wassili Leps 

Orchestral and Operatic Conductor 
... 0 establish people’s opera companies in all sizable 
en hi glVE r ra by the P eople - the people to 
Sr,.*"" “ * foundation’for ’a 

Josef Lhevinne 

Eminent Virtuoso Pianist 

w “ r* 

Leonard Liebling 

Editor-in-Chief of Musical Courier 


Arthur Nevin 

Composer, Director Municipal Music, Memphis 

all other ideaTuntil el,mmate 

Clubs overcrowded with too ls accomplished, 

committees and activT promoters n Schemes; 

boards, necessarily dividing interest^Ch f" app0II ! ted 
and make it 100 per cent. in^S and ener^ 3 Pr ° ,ect 

Marion Ochsner 

of 

programs of American music. artlStS t0 give 

Mrs. Ethel H. Peterson 

Prestdent Federation of North Dakota 

what music" means"t^Th/to M 

Pe ° Ple h ^ n ° 

Otto Pfefferkorn 

Pianist and Teacher 
(With apologies to Anagram makers) 
Installation of 

Managerial talent and skill 
Untainted by individual bias 
focal service and relations, 

Inspired by altruistic aim 
Co-operation of heart and'head! 

Mrs. W. W. Price 


Marcella Sembrich 

Famous Prima Donna 

The greatest purpose to which the music ,-luh, nf 
America can devote their energies is the m 

they b e y 0 U T" ' CSSer known musician' XThe" 
they be instrumentalists or singers wlur, ,h • 

body'wants^t Cvidence of ^il and striking n“ 

y wants to engage the unknown The vonue in' * 

riourt! r e ^: te r ? rhe ~ '<*■>- 

Srs; a?*- zc 

time and money. y t C expend| lure i much 

. Ella May Smith 

So •’< America,, Mu*. 
American Miif'ch.h^’T Ml,S, ' C CllVs 

the Study of American** devotc th ™ ' 'ves to 

Program should Te na leToT ,0nS ' ^ " CVery 

John Philip Sousa 

^^^Z^ dConductOT 

and dlscoun tcnance temperamernal 'fakirT^ ‘ CChniqUe 

President Lotht 
Our Musical Club ? enitl0n of Music Clubs 
their time to the stdv"^ !° ^ 3 *** d -' of 
semble form, they jJL f . c,ass,caI compositions in en- 
solo work. 7 ote to0 much time exclusively to 

»*- 

native creative talent and U C° nserva,ory - Supporting 
Private school music. Makin Improvin ? Public and 
athletics. Organizing Tunl f f mus,c as important as 
remembering always i he ^ US ' C C,ubs everywhere, 
schools. ‘he orphanages and settlement 


The org anization Q t le Philadelphia Orchestra 
°f the United States. f Th?* con certs in every town 
hirTt 1S latest in art if*- ,C - a ^ ays Anally realizes 
1 y to come in contact with V** g ' Ven enough °PP° r ' 


Conductor ■Nevf'J^jf^? 1 ** 3 ' 

——-w ojiuuiu near good music discuss it dents tn a practically, youne- stu t ^ bat is the greatest ‘ ^hrirmonic Orchestra 


I.1US1U11 V_1UDS 


■vgacies bequeathed us I rR,es ' Administering 
•opment of musical tastl • he great c,assics for the 


THE ETUDE 


MARCH 1922 Page 155 


The Beginnings of American Music 

A Sketch of Our Musical Endeavor Up to the Early Years of the Last Century 

By DR. ALLAN J. EASTMAN 

Prepared for Reading at Musical Clubs 


While there are statements that two of the voyagers 
upon that famous vessel, which was to provide an an¬ 
cestral background for so many hundreds of thousands 
of “Mayflower Descendants,” were reputed to be musi¬ 
cal, we have no record of what their musical ability 
might have been. Since Purcell was not born until 
thirty-eight years after the Pilgrims set sail and Bach 
and Handel not until sixty-five years later, the average 
music lover may form some estimate of the character 
of the music that the Pilgrims had heard in England. 
A fair estimate of the keyboard music of the .time can 
be found in the Fitswilliam Virginal Collection at Cam¬ 
bridge. It is reported that this book once belonged to 
Queen Elizabeth, but it is very unlikely that the virgin 
Queen ever played the compositions, as many are diffi¬ 
cult even in this day. Possibly some of the Pilgrims 
may have had an opportunity to hear music of this 
type, but their more or. less humble origin makes it 
seem likely that they were more familiar with the 
beautiful madrigals of Byrd, Morley, Weekles, Wilbye 
and Gibbons. However, this may have been, their re¬ 
ligious convictions turned them toward the more som¬ 
bre psalm tunes such as may be found in the Ainsworth 
Collection, melodies and harmonies dreary enough to 
be sure, but satisfying the theological tendencies of 
their singers. 

While the writer has not been able to prove positively 
that the Ainsworth psalm book “came over in the 
Mayflower” with the Leviathan cargo of all manner 
of things (including strong drink J, which that tiny 
vessel was supposed to have shipped, we do know 
that it was the most liked book of it's kind and that 
the Pilgrims conducted song services aboard the little 
boat to keep up their courage. It is the Ainsworth 
book, however, to which Longfellow refers in his 
Courtship of Myles Standish with the well known lines: 

The well-worn book of Ainsworth, printed in Amster¬ 
dam. the words and music together, rough hewn, angu¬ 
lar notes like stones in the wall of a church yard, dark¬ 
ened and overhung by running vines of verse. 

So thoroughly intrenched were the prejudices against 
music other than the psalm tune type, that for nearly 
a century the art was virtually blighted in all New 
England. 

Too much sobriety had a humorous effect upon some 
of the Puritans for we read that in 1628 a party of 
young bloods set out from Boston to a nearby place 
named Merry Mount and there did have “Revels in New 
Canaan” with “bread and beer and song” and other forms 
of dissipation until they behaved “like Ganmadis and 
Jupiter” (?) The ring leader one Thomas Morton 
was seized by the constables and if we are not mistaken 
sent back to iniquitous England as a suitable punishment. 

The sparse records of musical beginnings in other 
parts of the country are as interesting as they are meagre. 
John Conrad Beissel, for instance came to the new 
world in 1720 from the Palatinate where he was born 
in 1690. He was a poet, mystic and musician. In 1735 
he founded a communistic fraternity at Ephrata, Penn¬ 
sylvania. Should you ever happen to be in the vicinity 
of Reading, Pennsylvania, you will find it well worth 
your while to make a trip to the cloister or Sister 
House of the Seventh Day Baptists, where a congre¬ 
gation still worships every Sunday. It is one of the 
most primitive of all American historical relics and 
interesting beyond description. There the visitor will 
see records of the earliest attempts at music publishing 
and musical composition. Some of the old manuscripts 
are most interesting. All are in German. 

In 1740, Johann Gotlob Klemm, born in Saxony, is 
credited with making in Philadelphia, for Trinity 
Church, New York, the first organ manufactured in our 
country. This claim is disputed by some who believe 
that Matthias Zimmerman, of Philadelphia, made an 
organ in 1737. 

In 1775, John Behrent (German or Swedish by birth) 
is credited with making in Philadelphia the first Ameri¬ 
can piano. 

Meanwhile, groups of American singers and actors 
were appearing with success in New York. Among 
these were Lewis Hallam, Sr., and Lewis Hallam, Jr., 


and Maria Storer, as well as Catharine Maria Harman, 
who died in 1773. 

While so far we have given in this paper most of our 
attention to the music of New England, New York and 
Philadelphia, one should not infer thaj music was in¬ 
active in other parts of the country. We have indica¬ 
tions of great musical activity in the South, notably in 
the fine colonial mansions of Charleston, and other 
cities, but the records contain only a few facts of musi¬ 
cal interest at the present. One musical development of 
a very distinctive character was the formation of a 
society for cultivating music, at Bethlehem, Pa., in 1744, 
by the Rev. J. E. Westmann. This was the ancestor of 
the present famous Bach Choir, of the Bethlehems. 

Musical Organizations 

From this time on many musical organizations came 
into being in different cities. Some twenty-seven have 
been listed, many coming from singing schools, and 
some, like the Musical Society of Stoughton, Mass., 
founded in 1786, continuing to exist for many years. 

Meanwhile, many of the leading men who were con¬ 
cerned in the birth of the new republic, found time to 
take a great personal interest in music. Washington 
was especially fond of music, and often attended oper¬ 
atic performances. Benjamin Franklin was not only 
fond of music, but devised a new form of the musical 
glasses, called the Harmonica. For this, no less than 
Mozart and Beethoven composed pieces. 

In the early years of the last century the musical 
atmosphere of all America was changed, with greatly 
increased, and much more serious, musical interest. The 
foundation of the Musical Fund Society of Philadel¬ 
phia, in 1820, the organization of the Handel and Haydn 
Society of Boston, in 1815 (both of which are still in 
existence), the coming of -the famous Garcia Opera 
Troupe, which gave performances with Mme. Malibran 
in New York, in 1825, opened up entirely new vistas. 
Old prejudices quickly subsided and religious tolerance 
spread, so that the musical activity of America never 
lost its impetus to the present day, when there is un¬ 
questionably a wider spread interest in the Art than 
even its fondest supporters of one hundred years ago 
could have imagined. 

Francis Hopkinson 

Easily the most distinguished American musician born 
prior to the Revolutionary War was Francis Hopkin- 
son, born in Philadelphia, September 21, 1737, and died 
in Philadelphia, May 9, 1791. He was a poet, a 
lawyer and a musician. He graduated from the Penn¬ 
sylvania University in 1757. As a member of the pro¬ 
vincial council of New Jersey he became one of the 
signers of the Declaration of Independence. He also 
was a member of the convention which formed the 
U. S. Constitution. In later life he became a Judge 
of the United States District Court. His essays, satires 
and poems were published in three volumes. He played 
the harpsichord and was believed to have played the 
organ, as he had a hand in training the hoys at Christ 
Church and St. Peter’s Church in Philadelphia. In 
1759 he began a collection of songs, the first of its type 
in the New World. In it is the song My Days Have 
Been So Wondrous Free, often placed upon programs 
at this time because of its archeological interest. His 
second set of Seven Songs for the Harpsichord or 
Forte-Piano were dedicated to George Washington. 
In it he claims to have been the first native of the 
United States to haye produced a musical composition. 
It should be remembered that in 1800 Philadelphia was 
the metropolis of America with 9000 more citizens than 
New York. 

Meanwhile, in New England musical activity had 
been struggling with its Puritan garb in almost pathetic 
fashion. The most conspicuous pre-revolutionary figure 
was William Billings about whom much has been writ¬ 
ten, largely because there was none other who attracted 
so much attention in his day. He was born in 1746, 
in Boston, and died in 1800. A tanner by trade, he is 
said to have chalked his first efforts at musical compo- 



Francis Hopkinson 


sition upon sole leather. Deformed, blind in one eye, 
with a voice capable of roaring down all others in his 
neighborhood, it is little wonder that he attracted 
attention. While his first collection of music was pub¬ 
lished in 1770 (according to Henry M. Brooks), it was 
not of a character to warrant serious comparison with 
the work of Hopkinson. Yet, if serious consideration 
is given to his music, he antedated Hopkinson as Beissel 
did him. 

The musical atmosphere of Puritan New England 
may be traced in many old records among the most 
amusing of which are the texts of current hymns which 
succeeded the Psalms, and in old advertisements. Ap¬ 
parently the zeal of the hymn writers was expended 
principally upon describing the horrors of an industri¬ 
ous Satan in a very deep and dark Hades. Here are 
some specimen verses quoted by Brooks. 

Far in the deep where darkness dwells 
The land of horror and despair, 

Justice has built a dismal hell 
And laid her stores of vengeance there. 

Eternal plagues and heavy chains 
Tormenting racks and fiery coals 
And darts to inflict immortal pains 
Dipt in the blood of damned souls. 

The ancient traditions were first broken down in the 
sea coast towns where communication with the larger 
world brought greater breadth of thought and action. 
Before noting the American manufacture of instru¬ 
ments, let us pause for a while to read some of the 
curious advertisements, which trace the gradual awak¬ 
ening to the world of music. Here is one quoted from 
the Newport R. I. Mercury of June, 1759: 

“Imported in the last ships from London and Bristol, 
and to be sold by Jacob Richardson, all sorts of goods 
made in brass, copper, pewter, iron and steel; also 
woolens, linens, silks, and India goods—brass and iron 
Jews Harps, English flutes, violins, bows, bridges, best 
Roman violin strings.” 

From the same paper of October, 1764, the following 
quotation is made: 

“To be seen at Mrs. Cowley’s a curious piece of 
clock work, by which the image of a man is made to 
beat upon a Drum of Admiration; his wife by his side 
dances and calls him Cuckold; he moves his lips as 
if speaking, turns his eyes on all spectators, and bows 
his head in a very complaisant manner. He was the 
first drummer in the King of Prussia’s army and has 
been in Germany, London and Boston for ninety years 
past. He continues to be seen no longer than ten days, 
from ten o’clock in the morning till nine at night.” 

When it was proposed to publish a Volume of Orig¬ 
inal American Music, by Billings, in 1792, the committee 
undertaking to present this collection of “Anthems, 
Fugues and Psalm Tunes calculated for public social 

































Page 156 MARCH 1922 

worship or private musical societies-A Dialogue be¬ 
tween Master and Scholar— in which the theory of 
Harmony grounded on Question and Answer is adapted 
to the moderate capacity," issued a circular which inti¬ 
mates that Billings was hardly a commercial success, as 
it contains the lines : 

"The distressed condition of Mr. Billing’s family has 
so sensibly operated on the minds of the committee, as 
to induce their assistance in the intended publication.” 

Ridiculous Limitations 

• As f n ” ldlcation of the very limited musical activity 
in early New England, Hood, in the History of Music 
m Neu L..gla,.d, states : "The number of tunes rarelv 
exceeded more than five or six.” This was, of course, 
due to the fact that not only was there no effort made 
to read music, but there was a decided opposition to the 
use of anything resembling a music or note-book. The 
result was that each individual had his own pet version 
of his own scant repertoire, psalm tunes, and one writer 
states that the result was “like five hundred different 
tunes roared out at once, often one or two words apart.” 
those were days when men and women were willing to 
lay down their lives for their opinions, and it often 
happened that some trifling personal view could disrupt 
a whole congregation. Indeed, congregations were 
known to spend half a century in bitter discussions of 


whether music should, or should not, be sung from 

The taboo which had been placed upon anything sug¬ 
gestive of higher pleasures than reading the Lamenta¬ 
tions of Jeremiah, or singing the glorious psalms to 
dirge-like tunes, was fixed and firm. Reading music 
was likely to be harmful, because “It would introduce 
instruments;” “the names of the notes themselves were 
blasphemous,” “the new way grieved good men, and 
caused them to behave disorderly,” “there were so many 
tunes, one could never learn them.” Here was a most 
interesting instance of a human group endeavoring to 
break away from the conventions of one religious pro¬ 
gram, and at the same time making unrelenting conven¬ 
tions for a new scheme. 

The first church organ brought to New England is 
mentioned in 1711. This organ was one presented by 
Mr. Thomas Brattle to King’s Chapel, in Boston. This 
organ was imported from London, and remained in 
King’s Chapel until 1756, when it was moved to Ports- ■ 
mouth, N. H., where it may still be seen in St. John’s 
Church. It is reported to be in fair order, after its two- 
hundred-and-ten year visit to the New World. 

In 1742 we find Gustavus Hesselius, a Swede, making 
what are the first American manufactured spinets and 
virginals in Philadelphia. 


What Our Music Clubs Need Most 

By Mrs. F. S. Wardwell 


I believe, to make America musical and our clubs 
real helps in the community, we need to take music 
more seriously. The majority of people, and music 
club members as well, wish to hear music which can 
be understood the first time it is heard, of which they 
need neither know the date of its composition, nor any¬ 
thing else concerning it, except that they can hear the 
rhythm and follow the easy flow of the melody. 

American music, and music we can understand is 
interesting, but we should not confine our music to that 
of our own country—that makes us too narrow and 
. one sided. The music of Russia, Finland, Scandinavia, 
The Steppes, Bohemia, China and Japan, not to men¬ 
tion other countries, is interesting if you know some¬ 
thing of the countries from which the music comes 
the composers, the history, the climate, the religion of 
the people, customs, habits, and many other things. 

I find that after clubs become large enough to afford 
to have most of the music from out of town and the 
members have heard a number of artists, they become 
very critical and nothing satisfies. The remedy, I be¬ 
lieve, lies in study and more knowledge, not on the part 
of the artist, but on the part of the public. More sub¬ 
scriptions to magazines would help, materially. The 


proportion of members of clubs who subscribe foi 
music magazines is very small. 

I am suggesting in the Empire District of which i 
am president, comprising New York, New Jersey and 
Connecticut, that each club have a talk on Music 
Magazines at the first meeting of the year. I hope this 
will bear fruit. 

I have adopted the slogan for the Empire District— 
m addition to the National Federation of Music Clubs’ 

“ASin/r m every ‘ own and every state”-and 
A Study Group in every Club.” The Matinee Musical 

believed; ' ade,phia - is large club which 

Jnd ha ♦ f e , de r ! ° pm ™t of the youn S cr generation- 
and has started Junior Clubs and Study Groups 

JlTT T e ? tS f ° r Clubs as wel1 as sch ool children 
combined with the other suggestions will help to make 

li tter :Toi Th C b Tr d t0 be more 
listeners at our club and other concerts. 

I not only believe in this study and preach it h„t 

practice it as well. I have spent over twel yeis in 
makmg out club outlines and being of as much he n 

“ gr sjr w i " OTt h * ! «* £e„ " c »o h „t 

making scheme. I have wanted it to pay for itself 
but spent many hours in writing letters Ld L L- 
suggestions to clubs for the love of music. g 


Ingrowing Musical Clubs 

By Mr, Josiah A. Poppler, Vice^T N . D. Federation of Musical Clubs 


Our musical clubs need more than anything else the 
touch with big national and state movements. The 
idea of forever entertaining one another and not work¬ 
ing for the purpose of reaching out and helping others 
produces a sort of ingrown mental disease that is hard 
, CUr ®, after 11 is once inoculated upon a musical 
c ub. Club meetings, recitals, gatherings, banquets and 
all manner of celebrations are par t of the club work 
and help all the members of the club, but there must 
be a spirit of reaching out and trying to help others. 
Provincialism in any form in these days keeps one out 
ol the great swing in world rhythms. 


■own ''" b - S " a " 

and service of all its "™> 

” ™ «* be ataisticJS« 


The Music Student in Small Towns 

By Henry H. Graham 


iB T ni H ' ,aSt decad< ; has brought about wonderful changes 
"r lTrir as / elat ? d to the small town. Though, 

resTricfed a’s ^ “ the Sma11 town is 
restricted as to advantages, yet the visits of real artists 

p"aceT U are stea g d a T ,Zati ° nS - ° f ^ highest merit - to th «e 
places, are steadily growing more frequent. 

Many promising students live in these places. Their 
he n ar f °« the . best They hoId themselves above 
the popular “musica! f rot h” so much in vogue But 
they are denied the advantages, both in instruction and 

“ tl0 Thei ^ b / tter atm ° Sphere ° f tbe 
the “tL ■ fnends const antly urge them to join 

Jazz organizations of the community. For a time 


they hold to their ideals. But they are left ; ', , 

minority largely without companionship Fuidly^ 
Just such a problem confronts the idealist!,- ™ ■ 


THE ETVl) E 

Getting More Pupils 

By Walter W. Hammering 

The great problem of the teachers starting i n the 
fession is that of getting enough pupils “to make it 
and getting them soon enough. The teacher realizes ft 
it is necessary to advertise in some way. The „ 
direct way is perhaps that of frequent public appearan^ 
of the teacher and the teacher’s pupils. People buy l* 
they want. If the playing of the teacher and 0 f F 
pupils satisfies the public pupils will come to him in t; ' S 
if pupils are to be had. Printer’s ink in the form™! 
circulars gets pupils as does the right kind of newspap 
advertising, but often the young teacher will find that ev 
after all these methods have been tried the right resuh" 
do not come. 

Just what then, you ask, is the load-stone which draw 
pupils to the teacher? Given the ability to teach tl/ 
necessary preparation, the desire, the qualifications what 
is it so many teachers lack in the drawing of 0 ’ UD n s j 
The great “Man of Men,” in speaking to his students 
along this very line of understanding of a nrim-ml. 
said, “And I, if I be lifted up, will drau all men unto 
me.” Was it a physical lifting up from the earth or 
something else, that he meant ? 

The word “personality” is a much used word in 
describing the influence of a teacher over his or her 
pupils. “A repelling or drawing personality” we often 
hear But is there no law in the mental iv.dni which we 
may follow, without question as to result ? 

There is light for the eyes, sound for the ears and 
every need has a correlative, a supply to me, t it Know 
thi. Act upon it. That is the secret Know that by 
lifting up the best that is in you, “all men will be drawn 
unto you. Readiness to act, to serve t, , will brine 
more results by a thousand fold than’the mar that you 
cannot win Press the electric-button of v, „r spirituality 
and mentality which turns on the light. I, knowing that 
you can, deciding that you will, and being grateful that 
you do. Supply, then, meets every demand. 


Slow Practice with Exaggerated Accents 


By Frank D. Oneto 

Accent means a certain force, or stress placed on a 

o mulic se’ " rt ° f 3 bcat This -1-,'a,U feature 
usic seems to be overlooked more than anv other 

K2Jt a jf * * h** and **n*SZ™ Thus 
To test the • .° draW its a,U ' ntion “ d "> P'ease. 

of notS ustX2m e ? f tHiS Pr ° PCrty ’ p,ay a series 
That 

noJe a „d Ve i r „ ag t e StUden ‘ fa " s int0 monotony. The right 
for beauty. ^ SCemS t0 ^ the limi ‘ in his demands 

a ^elleml wat aV V been - taUght the Principles of accent, in 
diately follows t^bar'is^o ha ‘t"° tC Wh ' Ch imme ' 
stress, unless this haf k th • t0 recelve the greatest 
of phrasing. Try^t feaTt T*”®*! bysomt ' special mark 
Slow practice with the ‘ 4 ° get thls pnncipal accent 
these on the mtad an J fi aCCemS L° Verdone wi " s ° impress 
-Pid pace* there tifl S/S at a ^ 

for a crisp rendition of the piece aCCC '"' reqU ' red 


When r . ™ ^Pera a Year 

written thir^e^JeSpS’^T 1 *“? M ** * 

of his life. Natural),; u opera for every ye; 

work at a lightning b j must bave done most of b 
Tottola, brought hfm^th^' Indeed > when his libretti: 
from Moses in l W ° rds .° f the famous prayi 

he had written it ^ ’ , was inclined to boast th; 
Rossmi, jumping out Tf bed^'-’T’n 71 ' 3 • iS " othing .” ? ai 
quarter of an hour » u 1 bed ’ 111 writ e the music in 
traditions are correc^w'v" y d ' d il in ten minutcs ' 
managed to get to bis Wr . 1 f ,ng at su ch a speed, h 
thirty-seven that stand °" Iy tWO 0peraS ° Ut ° 

of Seville and William T.i? m * ster V ieces - Th e Barbt 
his other works are heard ° ccas,onaI fragments o 
them might have remained ,"° W - and then ’ but many . ° 
fame is concerned d unwrit ten as far as Rossini 


Let music he , 
eating or reading 




THE ETUDE 


MARCH 1922 Page 257 


What the National Federation of Musical Clubs is Doing 
to Help in Making America a Musical Nation 

By MRS. FRANK A. SEIBERLING 

Honorary Patron of The National Federation of Musical Clubs, President 1919-1921 


The vast development of the National Federation 
of Musical Clubs during the presidency of Mrs. 
Frank A. Seiberling is a part of the musical history 
of our country. Her article speaks for itself as it 


is a plain, matter-of-fact yet imaginative outline of 
the real truth of the Federation’s aims and accom¬ 
plishments indicating the splendid vision of the 
members; and showing why every musical organ¬ 


ization in the country should be affiliated with this 
fine national body. Mrs. Seiberling has donated 
the fee for this article to the Extension Work being 
conducted by the Federation. 



Catch-phrases and words, repeated often enough, in¬ 
fluence the lives of millions of people. Strenuous, the 
Simple Life, who can think of these expressions with¬ 
out simultaneously calling to mind the great Theodore 
Roosevelt. He exemplified those words and inspired a 
whole nation to emulate his example. The shallow- 
minded made a pretense to do so; the well poised act¬ 
ually did; but those who took themselves too seriously 
nearly drove the rest of the people insane by their con¬ 
stant repetition and reiteration of these words. The 
great world war came just in time to bring in a new 
popular phraseology before these words became taboo. 

Preparedness, Organisation, Efficiency, Co-opehation, 
Service, Morale! Has not America been overwhelmed 
with the tidal wave bearing upon its crest these words ? 
In their present order they have been the basis for 
analysis in making surveys of nearly every great busi¬ 
ness or national movement. As newly elected Presi¬ 
dent of the National Federation of Music Clubs in 
1919, I fell in line and put the searchlight of these mean¬ 
ingful words full and strong upon our Federation. First 
—were we national in accomplishment as in name? 
“No,”, was the embarrassing acknowledgement. Our or¬ 
ganization operated in a broad successful manner only 
in nine of our forty-eight States. To become national 
we must be strongly identified with all musical activities 
in every State of the Union and territorial possessions 
as well. So the new words 
became the foundation 
stones upon which the fu¬ 
ture work of our Federation 
rested. We chose for our 
slogan: “A music club in 
every city, in every county, 
in every State of the Union, 
and Junior Boys’ and Girls’ 

Clubs auxiliary.” This 
meant “Extension Work,” 
a veritable campaign to 
organize and federate new 


co-operation, efficient methods and a fine sense of or¬ 
ganisation. The number of States organized and 
equipped with full official personnel increased from 
nineteen to forty. The number of clubs, which had 
decreased to three hundred and fifty during the war, 
was enlarged to more than one thousand. 

It was possible to follow up and complete much of 
this work during my two years as President, by com¬ 
bining Federation activities with holiday trips to Florida, 
California, the South and Northwest and the New Eng¬ 
land States. During this time I visted thirty-three States 
of the Union, traveling more than fifty thousand miles. 
Our great plans for making America musical, our 
ideals and practical accomplishments were made known 
to several hundred thousand enthusiastic people. It 
was most inspiring to find that a high musical standard 
prevailed in clubs north, east, south and west; artists in 
all musical avenues were found in every city, amateur 
talent of the highest degree as well, and musical appre¬ 
ciation and culture were in evidence also; a fact so in¬ 
spiring that one felt like praising God that musical cul¬ 
ture, like heaven, is “a condition” and not “a place” de¬ 
finitely prescribed. The great cities in the east, histori¬ 
cally older, can no longer claim to have the monopoly 
on musical culture. The responsibility for this develop¬ 
ment has largely been due to the presence of a music 
club whose devoted leaders have held high their ideals 


i hear and enjoy 
iste and apprecia- 


and made possible the opportunity 1 
the best music, thereby elevating the 
tion of each community. 

In working out our “musical salvation,” however, th’e 
Federation discovered that the music club, in order that it 
should not die of musical dry-rot, self sufficiency, must 
individually and collectively find out the meaning of Service. 
No longer self-centered and Pharisaical, the music club 
has become a part of the community in civic, religious and 
educational affairs. Where music is concerned, the clubs 
are assisting enthusiastically. Community singing is being 
developed into something finer through prearranged high 
type programs for public assemblies. Group singing in 
the home and social circle is being revived to counteract 
the deadening effect of mechanically-made music upon self 
expression. 

The most important altruistic work of the music clubs 
lade possible by the change of relations between 
t *- ■ — the public 


Extension Work 

So then, for Preparedness. 

Literature concerning the 
National Federation of 
Music Clubs, much needed 
in the past, was published. 

Funds for this, heretofore 
too expensive a proposition, 
were obtained from a few 
enthusiastic officers and the 
treasuries of two generous 
music clubs, the Matinee 
Musicale of Philadelphia and 
the Tuesday Musical of 
Akron, Ohio. Aims, Ques- 
tionaires, Manual of Instruc¬ 
tion, By-laws, a National 
Directory, song Sheets, Per¬ 
tinent Suggestions and Sen¬ 
ior Clubs, and Programs for 
Junior and Juvenile Clubs’ 

Course of Study—a distinct 
departure, prepared by Mrs. 

Frances Eliot Clark, Direc¬ 
tor of the Educational De¬ 
partment, besides many other ^ __j ^ __ __ i¥4 __ _ __ _ .....| ___ 

innovations and improve- Ilinckle), Boston' Mrs. Frank A. Seiberling, Akron, O., Mrs. ’George Houston Davis, Birmingham’, Ala., Mrs. Worcester E. 

_ . jj nrintpH f nr ms Warner, Tarrytown, N. Y. Second Row: Mrs. John F. Lyons, Fort Worth, Texas, President, N. F. M. C.; Mrs. Ferdinand out t h e Dract ; ca i rea fi za tion 

ments over old printed lorms Schuma ’ eheri Akron, O., Mrs. George Eustis-Corcoran, Washington, D. C„ Mrs. Russell H. Boggs, Sewickley, Pa., Mrs. Oscar out me P ra «icai realization. 
—- e published and put into R. Hundley, Birmingham, Ala., Mrs. Ora Lightner Frost, Tulsa, Okla., Mrs. John M. Gove, Concord, N. H., Mrs. Boris 
■ j . ' L. Ganapol, Redford, Mich., Mrs. Helen Harrison Mills, Peoria. Ill., Mrs. David Alien Campbell, New York City, Mi 


has beei-- ,_„___ __ 

the club members and the music supervisors __,_ 

schools. Formerly, a positive distrust existed between 
these two elements, “co-operation” and “Service” have 
been the magic words to bring about mutual understanding. 
Now it is the proud privilege of the music club to assist in 
putting on the Music Memory Contests, not only by fur¬ 
nishing the best musicians in music illustrations, but in 
undertaking to raise the necessary expenses. 

Awaking the Public Schools to Music 

The National Federation of Music Clubs, having 
agreed that the hope of the nation for universal music 
culture rests upon music in the public schools, has under¬ 
taken to assist in bringing about legislation making music 
a compulsory subject, through grade and high school, 
for which credits shall be given. The Federation is 
standing for a broader and 
more comprehensive normal 
course for supervisors, and 
is supporting the movement 
for higher salaries, that the 
profession may attract the 
highest class musician. 

America stands for “Equal 
Opportunity” for @11. In 
this respect the children of 
the rural districts have been 
sadly deprived of their rights. 
Many of our large music 
clubs have committees who 
go to the rural schools in 
their counties, teach the 
children to sing and furnish 
programs of music several 
times a year for the children 
and parents. Until taxes can 
be adjusted and appropri¬ 
ations made to supply super¬ 
visors for country schools, 
no finer work can be done 
by the clubs than to fill this 
great need. Music clubs with 
a good surplus in the bank 
can well afford to help along" 
such benefactions, and to 
give money towards buying 
pianos, talking machines and 
records, as well as band and 
orchestral instruments for 
the schools. The little club 
will find itself growing 
stronger and more successful 
finanically by determining to 
raise money for such pur¬ 
poses. The higher and nobler 
the ideal, the greater the in- 


NATIONAL FEDERATION OF MUSIC CLUBS. 

Arms Fisher, (Mrs. Emma Roderick spiration becomes, and a way 
—— - - — " always developes to work 


Pa., Mrs. William 


mile 8 Mlusl, __ _ 

liary to the Senior Clubs, i 


■ ™ L Ganapol, Kearora, Mien., Mrs. Helen Harrison Mins, Peoria, ill., Mrs. Davia Alien uampoeu, mew ion; any, Mrs. m urgamziug Junior and 

immediate use. r. ( ,uis E. Yager, Chicago, Ill. Third Row: Mrs. F. H. Blankenship, Dallas, Tex., Mrs. Cecil Frankel, Los Angeles, Cal., Juvenile Music Clubs, auxi- 

It is needless to give a Mrs. J. J. Dorgan, Davenport, la., Mrs. Edna Thomas, New Orleans, La., Miss Nan B. Stephens, Atlanta, Ga., Mrs. J. 1 "" - 

detailed account of the work “S Vi. " ' ’ .H | 

done by the Extension Com- Arthur Bradley, Cleveland, O., Mrs. Euge 

wLirti Mrs Freri- Garrett, Eldorado, Ark., Miss Myrtle Ju - - ---, - -— - --—- 

mittee, Ol wnicn ivns. ritu Rohert Woodside, Greenville, S. C„ Mrs. J. G. Cochran, Parkersburg, W. Va. Fifth Row: Mme. Edna Marione, New . 

erick W. Abbott was Chair- City, Mrs. Edward S. Bassett, Cleveland, O., Mrs. Albert Grunsfeld, Albuquerque, N. M., Mrs. John Freeman, Bedford, Ohio, 

After piVhtpen months Mrs. Charles A. MacDonald, Canton, Ohio, Mrs. William F. Gregg, Mrs. Louis A. Pradt, Wausau, Wis., Mrs. Raymond 

man. niter eigmeen i iunuu 0 sburn, Columbus, Ohio, Mrs. J. A. Jardine, Fargo, N. D. Sixth Row: Mrs. William G. Sharp, Toledo, Mrs. Franc" ” 

of intensive work, the re- land. New York City. Top Row: Miss Irene Seiberling, Okron, O., Mrs. Frank Gates T 

vorth, Mrs. Grace Porterfield Polk. Greenwood. Ind., Mrs. E. J. Ottaway, Mrs. Henr- 
~ ~ " ” ~ 1. Gardner, Mrs. N. O. Mather. This photograph was taken a 


suits" achieved demonstrated ^ ^ b 
M rs. Abbott had enthusiastic at 1 Akron, e o. 


D. Crebs, Mrs. ! 


_ , _ William Hamilton Bayly, Washington, great service is being done 

Mrs. Nora Babbitt Harsh, Des Moines, la., Mrs. The programs inspire the 
McNutt, Waco, Tex., Miss Marion Van Wagenen, Newark, N. J., Mrs. R. N. children to greater achieve 
McAteer, WHkensburgh, Pa., ” ' * " ^ 

~ Va. Filth. Row: Mme. KUna Marione. mew fork win sno’ 

'hamber music develops nat- 

..— irally where there is the High 

_McFar- School Orchestra. Upon oc- 

__ ___ ___ 1. R. Longs- cassion. Brass Band and Or- 

Schurmann, Indianapolis, Mrs. Wal- ehestra can be used on Junior 
the beautiful home of Mrs. Seiberling, programgs. 























Page 158 MARCH 1922 

becomes ^xecMi? mu * lcal lifc ' 

m,n, ',!L f lif e C of°the oratorio society^ tie’a 

tulb and the local ooera club, of svn.Mh, 


Bcitals 


ready TOM » 
committee atteudi 
architectural hem 
light" from stair 

children have nev< 


" “*»> “S»u recitals given for 
popular. In a recent issue 
» were advocated to be given 
especially adapted to children. 


; of many churches, the "dim religi 
I glass, an atmosphere which inspi 
; r ‘"£? “ li(, ' v musical experience. M; 
heard fine organ music. 


It is impossible to give a complete account of the 
many and varied ways in which a music club may serve 
the community. The city federation of all music clubs 
-where there are several-is found to be pleasurable 
and mutually beneficial and prevents duplication of 
effort. 

Conventions 

In furtherance of the fundamental plan for com¬ 
pleting our great national organization, a very import¬ 
ant feature has been the districting of each State into 
zones—each comprising a number of counties. With 
zone directors and county chairmen, the working force 
is complete. Wisconsin has been the first State to per¬ 
fect this plan and several zone conventions have been 
held with a music festival, attracting a large representa¬ 
tion from the clubs. The working plans of the State 
and the inspiration coming from reports and compari¬ 
son are thus brought to many. Coming into “personal 
touch with State officers at these zone conventions is 
more effectual in enlisting new recruits and cementing 
allegiance Ahan can be estimated. Comparatively few 
can afford the expense entailed by attending the State 
Convention. And yet, paradoxically, many more are 
interested and in some way make it possible to attend 
the- State meeting after attending the smaller confer¬ 
ence. The fundamental purpose is accomplished, of 
carrying music and the opportunities offered through 
the Federation to the greatest possible number. The 
same gratifying result follows quite logically in enlarg¬ 
ing the attendance at the National Biennial Conventions 
The great interest attending the State Contests for 
the Young Artists, increases when the District Con¬ 
tests are held. These contests, in conjunction with 
concerts become a festival occasion to those present. 
They attract the attention of many serious professional 
musicians and music managers. When all this con¬ 
centrated activity to advance music in America in 
every State in the fifteen districts culminates in the 
Biennia Convention, where the leaders in music club¬ 
dom all assemble for consultation, it is immediately 
understood that great enthusiasm must prevail and 
that enormous progress results from such contact and 
enthusiasm. 

At the Twelfth Biennial Convention which was held 
ast J“" e at the Tri-Cities—Davenport, Iowa and Mo¬ 
line and Rock Island, Illinois, there was a most repre¬ 
sentative assembly of leading music club women and 
delegates. Many famous musicians participated in the 
programs and many were present as guests. The smaller 
forms of prize compositions and the great prize ora¬ 
torio, The Apocalypse by Paolo Gallico, were per- 
formed. The splendid Tri-City Orchestra, the fine 
chorus, the exquisitely beautiful choruses from the 
public schools, all demonstrated what can be done in 
all the smaller cities of the country. Mrs. Emma Rod¬ 
erick Hinckle, first vice president and chairman of the 
Biennial Program, presented a program rich in musical 
offerings, intellectual, educational and inspirational. The 
xoung Artists Contest with forty-seven district win¬ 


ners competing for national honors was also tremend¬ 
ously interesting and was carried on simultaneously 
with the regular convention program. 

Harmony Among Members and Officers 

Greatest harmony prevailed between the outgoing and 
incoming administration. Enthusiasm ran high at the 
convention over the remarkable reports of accomplish- 
ffres ment since June of 1919. The new Board of Directors 
agreed unanimously to continue along the same lines 
for the next two years as the plans inaugurated are 
only in the first stages of development. “Carry On” 
“Push On” until our “Slogan” is actually realized. 

To Mrs. John F. Lyons, the newly elected president 
of the National Federation of Music Clubs, the, entire 
Board of Directors and Auxiliary Board have pledged 
unqualified support. Mrs. Lyons’ splendid record of 
achievements in Texas and in Fort Worth, her home 
city, as well as four years of service on the National 
Board, have demonstrated unusually fine executive abil¬ 
ity. 

Mrs. Cecil Frankel, of California, as chairman of 
the Extension Department, comes into this office with 
a reputation for remarkable achievements in California 
along extension lines. The forward movement of 
extension work will be rapid and strong under such 
a director. 

A Wondrous Temple 

v,,H„™, aR l na J i0D i ! l et us . s -™ holiz<> the develdpement of the 

i-zB 's : Ss “- 0, c 

a?e Ut some US of St thf va^hal” ^cMtect.^There 

finishing The few^orK, 

pmnf their volceB ?" d ste P s echo and re-echo through the 
wfthout t a o Ce ente? d nnd ey iond e crowds loitering 

lX 0 m,d t Va en n^f r ui a ^eracle th „ e f lr ar a t d ' D thlS 

But in many other great halls there is enthusiasm 
and feverish activity with thousands of happy toilers 
-completing-their work and realizing that the great out¬ 
side world may soon enter. The walls are being hung 
With tapestries of music lore of the great masters. 
Statues are erected, whereon wreaths are hung in 
memory of departed genius. Rare books, biographies 
and histories and music of the past and present may 
be obtained from the great libraries. There are chairs 
for the master teachers and footstools upon which the 
humble student may sit to learn from the wise There 
are attractive recital halls where young artists may 
be heard and where chamber music is best presented 
there are magnificent assembly rooms, music halls’ 
amphitheatres, where oratorio, opera and pageant and 
great .symphonic music may be enjoyed by vast audi¬ 
ences. There are lofty portals that open into musical 
vistas and avenues which lead to the fulfillment of 
every ambition. 

Many roads must lead to this Temple. They must 
be wide and beautiful so all will find them, whether 
coming from mountain or plain, from the rivers or from 
E ? te ™ g they ^all bring their offering 
to the. Altar of Consecration to Home and Country 
first; then to the Altar of Self Sacrifice and Hard 
Work; then to the Altar of Sympathy and Deeper 
Understanding. And they shall depart with Knowledge 
Accomplishment and Success, and have Harmony in 
their souls and the Joy of Living in their hearts. 


Just what music and heredity may rn 
people, I do not know. In my experience as a teacher, 
I have known of a great many musical parents who 
have had children of such varying musical receptivity 
that it would seem to me that there was little to the 
theory that the child of musical parents must necessarily 
be inclined toward music. Just now I have in mind 
two noted musicians Their son has a very wholesome 
“*■ Mo ° sh 

l you ’ 1 a “ not disputing the force of heredity, 

for I have recently been reading the facts given by the 


Heredity and Music 

ie Felter 


William Gardiner, of Leicester (England), the 
mjmal Btodcmg manufacturer, sept Haydn a present 
of half-a-dozen, pairs of cotton stockings, into which 
were woven the notes of “God preserve the Emperor” 
(the Austrian Hymn) “My mother bids me bind my 


great psychologist, Dr. Arthur Holmes, citirnr the in 
stance qf the Kallikak family. This is the case of 
a man in Revolutionary days who had two wives One 
was a normal woman and the other feeble minded. Of 
496 descendents of the normal mother, only three were 
sub-normal mentally or morally. Of 480 recorded 
descendents of the feeble minded mother, only 46 were 
normal. The others were all either insane, criminaT or 
degenerates. Think of it-434 derelicts! Who ran 
dispute heredity in the face of such facts? 

ment U 7nH h °T V - r ’ t0 ** “ ac( l uired accomplish- 

ment, and only in special cases does it 

the children of musical parents. Uence 


hair,” and other thematic material, including the andante 

must have tnUsical stockin g s the locale and its 192P.""7“ S a t,lorough inventory of 

his head, but think of the novel sensah'onTf't,’ 0 ^ 811 t"'- that other ciuht wanJt l " terest,n g Ktsotiahty. 
them entwined around his legs! f havmg lts example? If nof rn , to read ab °ut and emulate 

and move to the nmr» ns 1 7 t mu nicipal musical needs 
proper objective. 


The Club 

A Municipal Personality 

By Mrs. William Arms Fisher 

(Emma Roderick Hinckle) 

Vice-President National Federation of Musical Clubs 

Clubs, like persons, owe themselves a debt, an obliga¬ 
tion—that duty which imposes force of being— the task 
of service which lifts a situation out of itself and thereby 
changes a community; in other words, exerting the 
influence of a dynamic municipal personality in the 
direction set forth as the object of its organization. 

Clubs, like persons, live through given situations, and, 
like people, become dead, although not buried, by repe¬ 
tition or worn-out routine. The constant strife_ 

which is life—should be to seize the needed reform 
assume it as a new garment, wear it only t ! conditions 
and demands require a new uniform, and hen discard 
it for the garb which gives more freedom and better 
fits the worker. Clubs cumber tliemselvi by taking 
on new garments, attaching them as ornamc s or outer 
cloaks while reluctantly holding on to all t! old, worn- 
out frills of precedent. 

A great magazine recently asked a fain ms writer 
to send it an article on the most interests person be 
knew. The writer sent an article on h .,|ft H c 
stated that he spent more time with him- and knew 
himself better than anybody else, there). | 1( . was 
the most interesting of all human beings t niself. 

He was quite right. You are the m. o absorbing 
personage in the world— to yourself. But t. me fully 
to this realization means that you must m, yourself 
interesting. You must read, observe, study. <•, travel 

associate with minds greater than yours in in. respects 

and keep out of the ruts; beware of dull, i ildering 
numbing routine. 

So with a music club; to have an interest- person¬ 
ality it must act, travel, belong to bodies I , r than 

itself, study, take inventories, discard old tri. unload 
needless routine, take on the needed reform, tl, \v away 
cumbersome equipment, strike out for n, de finite 

resuffs, and scintillate as a living personality 
Music Club executives should be. and in . places 
Their™ mt ° 3 meetmgs Pertaining to civic I erment. 
Their power m a community should so strom appeal 

lithom Th ng “f r issue or m °vement ' JpE 

chffioccupy thisplace cE 

should escape the power and softening influence f music. 

Clubs Should Function the Entire Year 
acMevemem f haVe - qUa ‘ ified for ignition on the 
durinsr the °! 3 S ’ X *° e ' ght month schedult made 
ofaelub w°h b TT hS: bU ‘ h ° W 3b0Ut dl ti net ion 

heydays of rTn 

,*» —ff r 

**« a " ■wo™* » bri« 

masses, whose lives are to the , town band t0 the 
despotic commercialism ° ftCn held ln tbe grip of 
not interest the lay memh^ °* tEn h ° Urs daily? Why 
outdoor concerts? ers m a Summer course of 

should be enabled °! tbe winters work any club 

<« r^hr r«" h rzsr h ' ^ 

°r better still creating a fund w ^ 

equal to or surpassing- in • f the summer s activity 
Moreover, attendance t en,oyment tbe winter course, 
increase the winter mn SUmmer musical affairs will 
addition utilize a different * 3Udien f s tenfold and in 
naturally increases dub ,'nf° UP ° f executives - which 
experiment? Begffi 't ’"‘TS Why try the 
correlated with fil ms to pla f» for outdoor concerts 
proposed program Stimnt , dai ! cing a PPropriate to the 
utilize new groups „ ? 6 Ch ° ra '. singing in ‘he open, 
Emergence from last ve 1 "^ 6 *^ 3 ! 3 ^ lntroduce pageantry. . 
and unseen will act y 3r S p ans to a schedule untried 
power of the clnh n 3S ?,. stltnulus to the growth and 
the locale and its 1922 3 t,lorougb inventory of 
rt„K needs are taken 


THE ETUDE 


MARCH 1922 Page 159 


Beacon Lights of Opera, To-Day and Yesterday 

Graphic Sketches of the Masters who have Developed the Art 

A Paper Suitable for Reading at Music Clubs 


By ROSE STUMOFF 



dis de Gaule. His greatest innovation is 
conceded to be the invention' of the French 
form of Overture—a prelude, a fugue 
and then a dance form. This was em¬ 
ployed by many other masters, including 
Handel. 

Meanwhile, in England, a rare genius 
appeared in the person of Henry 
Purcell; born and trained in 
England he wrote music of 
such distinctive character that 
English critics readily con¬ 
cede that none greater has 
come from the tight little 
isle until the present day 
when Elgar exalted Al¬ 
bion’s lyre. His Dido and 
Aeneas, written when he 
was a boy of seventeen 
and produced in 1675, is 
remarkable for its melody 
and skillful treatment. 
This bears the distinction 
of being the first English 
opera. Purcell’s brilliant 
career was cut off at the 
age of thirty seven. 

The first German opera bore 
the name of Dafne as it was 
set to the same libretto as that of 
Peri translated into German. The 
composer was the scholarly Heinrich 
Schutz, the most important German com¬ 
poser prior to Bach and Handel. For the 
most part the works of this cpmposer 
were sacred. He was born in 1685 and 
lived to the fine old age of eighty-seven 
dying in 1672, thirteen years before the 
birth of Bach and Handel. Reinard Rei¬ 
ser who followed Schutz in the German 
operatic chronology was hardly as signi¬ 
ficant as his friend and rival George 
Frederick Handel who wrote twenty odd 
operas only to have them overshadowed 
by his oratorios. His contemporary Ales¬ 
sandro Scarlatti in Italy, 1659-1725, is 
conceded to have improved the force of 
the recitative. 


Christoph Wilibald Gluck 

It was not until the arrival of the Aus¬ 
trian composer Christoph Wilibald Gluck, 
(1714-1787), that another operatic re¬ 
former arose to take up the time old battle 
against artificiality in art. Gluck was a 
well trained musician and when he com¬ 
menced to write for the stage, at the age 
of twenty-seven, he followed the accepted 
models. It was not until he had written 
eleven operas, the last of which, a pastic¬ 
cio, failed dismally in London, that Gluck 
began the introspective work which 
brought him immortal fame. It was then 
that he saw that only an acquaintance with 
the aesthetics of art and the philosophy of 
life would lead him to procure real mas¬ 
terpieces. He strove earnestly through 
ten works to acquire a more sincere style. 
Finally he reached the simple and beauti¬ 
ful heights of Orfeo ed Euridice, Alceste 
and Iphigenie cn Aulide. Naturally these 
iconoclastic works met with opposition 
and it was necessary for their composer to 
conduct an active campaign in their be¬ 
half, ultimately triumphing over all his 
rivals. His work at times shows the in¬ 
fluence of his French predecessor Rameau 
in the directness of its harmonic treat¬ 
ment. Here are some of the accomplish¬ 
ments of Gluck recounted by Streatfield : 

Gluck treated the opera as an integral 
musical and dramatic whole, not as a ser¬ 
ies of stage fragments. 

Gluck was the first to make the overture 
reflect the dramatic story that was to follow. 


It has been estimated that more opera 
was given in America this year than in 
any year in the history of the country. 
Add to this that everyman’s fireside is an 
opera house, in these days, when by the 
mere turning of a handle he may invite to 
his home the voices of the capricious 
prima donna or the recalcitrant Helden 
tenor, and you may estimate the present 
day interest in opera. While probably 
some thirty thousand operas have been 
written, the art has depended very largely 
upon t he outstanding discoveries and 
achievements of a mere handful of men. 

Keats intimated that “all charms fly 
at the mere touch of cold philosophy.” 
Notwithstanding this, at least two of the 
leaders in operatic progress, Gluck and 
Wagner, approached their problems in a 
pure philosophical spirit. Wagner indeed, 
wrote lengthy essays determining in ad¬ 
vance just what he wanted to do and'why 
he proposed to follow a certain plan. The 
vety beginning of opera was the result of 
a formal attack upon bad art. 

Peri, Cavalieri, Galilei 

That the first opera written (Dafne by 
Tacopo Peri, produced in 1597) has been 
lost, is regrettable, since it was the result 
of long discussions of those far seeing 
musicians Peri, Emilio del Cavalieri and 
Vincenzo Galilei. Galilei was the father 
of Galileo Galilei, the famous astronomer 
who, in 1633, just a few years after the 
colonization of America, was forced to 
swear that- many of his discoveries were 
lies' in order to please the opinion of 
time. (Epo’ si move ) 

These famous Florentines met 
at 'the home of Count Bardi, 
where they attempted to re¬ 
vive the Greek musical dec¬ 
lamation, although they 
could hardly be expected 
to do more than surmise 
what if might have been 
The men were “intellec¬ 
tuals” of high birth, and 
like Wagner and Gluck 
they did not hesitate to 
write lengthy dissertations 
Upon what they hoped to 
do. Thus Peri in his sec¬ 
ond opera, Euridice, writ¬ 
ten for the wedding of 
Maria de Medici with Henry 
IV of France, (produced Oct. 

6th, 1600) wrote a somewhat 
lengthy preface setting forth his 
theories upon what an opera 
should be. This work was published 
and a copy still exists in the British 
Museum. The work is largely in recita¬ 
tive and at times it seems as though the 
whole scheme of the composer was to 
make the upward ’and downward line of 
the music follow the similar natural inflec- 
tions of the human voice. Since these in¬ 
flections are more often traditional than 
emotional it may readily be seen that the 
theory is not always correct. 

Claudio Monteverdi 

Monteverdi followed so close upon the 
heels of his Florentine predecessors that 
he might almost be considered one of the 
same group. Yet his name stands out 
in the history of opera because of his ex¬ 
tended labors in his field and because of 
his bold excursions into forbidden terri¬ 
tory. In his day, for instance, when a 
composer wanted to introduce such a 
chord as the dominant seventh (G, B, D, 
F in the key of C) the inflexible laws of 
harmony made it a kind of musical heresy 


to use this chord in any form unless it was 
preceded by some of the ordinary triads. 
Monteverdi saw that this could be intro¬ 
duced very effectively without preparation 
and used it very frequently to produce 
desired effects. His first opera Orfeo 
was instantaneously successful. For many 
years Monteverdi devoted himself to the 
music of the Church holding the position 
of choir master at San Marco, Venice, at 
a salary of 300 ducats a year. In 1637, 
the opera house at Venice was opened. 
This was merely th'e forerunner of the 
new era of opera, for half a hundred more 
such houses were opened during the next 
fifty years. Opera became the rage, anil 
Monteverdi was the Fading composer of 
the times iii his field*. His pioneer mind 


brought beauty 
to the art but 
expanded it 
enormously i n 
certain directions. 
One of his achieve¬ 
ments was the intro¬ 
duction of the tremulo 
for the violin. Among 
his other operas was 
Wagner Adone,—Le Nozze di Enea 

con Lavinia, II ritorno di 
XJlisse in patria, L’Incoronazione di Pop- 
pea. Many of his effects sound strangely 
new and interesting in this day. Monte¬ 
verdi was born at Cremona, 1567, and died 
at Venice, 1643. Monteverdi may be said 
to be the lineal ancestor of Wagner be¬ 
cause of his free employment of polypho¬ 
nic means combined with appropriate har¬ 
monies. His orchestra comprised thirty- 
nine instruments, with ample brass and 
strings for large affects. 

In the train of Monteverdi followed 
Cavilli to whom the invention of the “aria” 
is attributed ; Marc Antonio Costi who 
first employed the da capo or the device of 
repeating the first part of the aria to 
round out the form. In France, Robert 
Cambert was given a monopoly of the 
opera situation until Giovanni Battista 


Lully (fr. Jean Baptiste de Lully) arrived 
upon the scene. 

Jean Baptiste deLully 
Lully has been called rhe “founder of 
French Grand Opera. He was born in 
Florence, Nov. 29, 1632. 
and died in Paris, 

March 22, 1687. He 
was of the nobility, 
but his family was 

Playing the vio¬ 
lin very skill¬ 
fully he was 
taken to 
France by a 
gallant who 
found the 


Mozart 

thirteen-year-old boy useful in entertaining 
Mile, de Montpensier , la grande demoiselle. 
When she tired of . his playing she sent 
him to the kitchen to serve in the scullery. 
Soon, however, we find him in the King’s 
Private Orchestra, where his ability 
raised him to the position of leader of the 
famous “Twenty-four violins.” 

His success was now assured. In 1653, 
he was appointed court composer and no 
less than the King himself, the austere 
but frivolous Louis XIV, appeared in the 
dances. Lully was a clever politician and 
saw that his familiarity with the king was 
desirable. Accordingly he appeared with 
the King in the ballet, assuming the name 
of M. Baptiste. 

His operas were for the most part mag¬ 
nificent spectacles but the music was writ¬ 
ten with far more reserve than those of 
his florid Italian competitors. Lully was 
everything at the opera, stage manager, 
machinist, ballet master, conductor, com¬ 
poser and tyrant, for his irascible, arro¬ 
gant bullying temper kept all of his atten¬ 
dants in constant fear of him. Indeed, 
this was the cause of his death, for upon 
one occasion, when he was using a cane as 
a baton, he struck his foot causing an ab- 
cess which led to his end. Of his twenty 
odd works possibly the most distinctive are 
Alceste ou le criomphe d’Alcide and Ama- 




























the etude 


Page 130 MARCH 1922 

Gluck was the 
first to dismiss the 
harpsichord from 
the opera orchestra. 

Gluck was the 
first to use clarinets 
in effective fashion 
in the opera or¬ 
chestra. 

Gluck was the 
first to properly 
employ the chorus 
as an artistic back- 
ground to the 
singers. 

Wolfgang Amadeus Mozart 

The next distinctive figure upon the 
w r M C h0nZOn 18 that ° f glorious, opu¬ 
lent Mozart—a musician first and always 
it was not his province to introduce radi¬ 
cal ideas to the opera, but rather to pour 
into it the wealth of his genius and give 
the world a remarkable series of master¬ 
pieces hardly credible when we realize 
that Mozart’s busy life extended only 
from 1756 to 1791—a period of thirty- 
five years. J 

Despite the splendid accomplishments of 
such men as Gretry, Mehul, Cherubini 
Spontim and the brilliant Rossini who 
brought new glories to the Paris Grand 
Opera, and despite the delightfully charm- 
mg musical jewelry of the incomparable 
Italian melodists Donizetti and Bellini, 
none of these men could be called reform¬ 
ers. They accepted the operatic forms and 
conventions of their day and sought to fill 
those musical vessels according to the na¬ 
ture and opulence of their own musical 
genius. The next distinctive figure we 
encounter in the art is Carl Maria von 
Weber, (1786-1826), who after years of 
struggle against poverty, to say nothing of 
dissipation, finally achieved in Der Frev- 
s ch utz(\m) Euyranthe (1823) and Obe- 
ron (1826) works distinguished not mere¬ 
ly for their fine imaginative spirit of the 
romantic but also characterized by a 
wholesome atmosphere indicating the in¬ 



fluence of the simple German volkslieder. 
His orchestral treatment indicates ad¬ 
vances which led up to the later achieve¬ 
ments of Richard Wagner. 

The French opera of the nineteenth 
century finds its most spectacular proto¬ 
type in the person of the German-born 
Jew, Jacob Beer who later became known 
as Giacomo Meyerbeer, (1791—1864). 
Over twenty years older than Wagner he 
established himself in the French capital 
so substantially that his works supersed¬ 
ed all others. Spectacular and melodra¬ 
matic but at times very empty, modern 
critics do not give him quite the credit he 
deserves for such beautiful passages as 
those to be found 
in Robert le Diable, 
Les Hugenots and 
Le Prophete, but 
most of all in 
L’Africaine. Fol¬ 
lowed by Berlioz, 

H a 1 e v y, Auber, 
Gounod, Thomas 
and later by the 
very fine art of 
Massenet and 
Saint Saens, 
French opera con¬ 
tributed enormous- 
.... ly to the reper¬ 

toire without any radical innovation until 
the time of Debussy. 

In Germany, however, the mighty talent 
of Wagner arose like a wonderful planet 
in the musical heavens. 

Richard Wagner 

The Wagner literature which, with the 
literature of the Bible, of Shakespeare,’ 
and of Napoleon is among the largest of 
its kind, seems to strive frantically to re¬ 
veal what Richard Wagner did to make 
his work in musical composition distinctive. 
First of all it must be said that this great 
composer born at Leipsig, 1813, and died 
at Venice, 1883, was at heart such an 
iconoclast that if he found an established 



Rossini 


custom or tradition, his first instinct was 
to discover a means of doing the opposite 
thing. Among his innovations was that 
of writing his own dramas and so central¬ 
izing the thought that the work became a 
unified whole; of employing the leit motif 
idea to identify certain characters; of 
avoiding all ornamentation not germane 
to the musical and dramatic thought; of 
making the singer subordinate to the dra¬ 
matic and musical thought of the piece; of 
placing the orchestra in the theatre in a 
sunken pit, out of sight of the audience. 
These and other reforms were enough to 
make any one art worker immortal, but 
he had the heaven-sent gift of combining 
with this a musical conception, so rich, so 
brave and so graphic that the grandeur of 
his works was enhanced a thousandfold. 
In his field Wagner has never been ap- 
nroached. 


Italy “the land of opera,” misled for 
years by the will-o-wisp of superficial 
melody was not 
long in realizing 
that the reforms of 
Wagner were mak¬ 
ing a permanent 
impress upon art. 

Arrigo Boito was 
one of the first to 
realize this. He 
was born in 1842, 
and died in 1920. 

His great master¬ 
piece, Mefistofele, 
produced in 1868, 

thai n it U is C not V s e ur d - Me ™er 
prising that when Verdi produced Aida 
three years later, the musical world noted 
a remarkable metamorphosis in his style. 
Here was the idiom of Italy combined with 
the bigness of the new German School. 
Verdi was born in the same year as Wag¬ 
ner, but lived until 1901, eighteen years 
longer. He again astonished the world, 
in 1887, by the production of Otello, 




and in 1893 by 
writing Falstaff, 
one of the most 
brilliant and ef¬ 
fective of all Ital¬ 
ian operas (written 
at the age of 
eighty). 

While Verdi 
cannot be regarded 
as an innovator, his 
fine musicianship, 
his rich melodic 
gifts and his wide w 

appeal to the pub¬ 
lic make him one of the greatest of th 
operatic figures of all time 6 

After Verdi we find a chain of brilliant 
Italian composers Mascagni. Ponchielli 
Leoncavallo, Puccini Montimezzi Wolf’ 
Ferrari and others who have produced 
operas in the verissmo or realistic school 
which just now seem to have a larger ap¬ 
peal to the public than all others. In 
France, Charpentier, whose tendency is 
toward the opera of the peopl, has gi ven 
delight to thousands with his / „isc, while 
Debussy has fascinated the < thetes by 
his deliciously melodic images j M suc h a 
work as Pelleas and Melisand, I n Ger¬ 
many the dominating operatic master of 
modern times is Strauss whose ,„ost nota¬ 
ble work is Salome, although his most 
fascinating stage piece is AY nkavalitr 
In Russia the strong Muscovit, , haracter- 
istics of Mussorgsky with his Ji ■> is Codu- 
nor has pointed out new musical possibili¬ 
ties. Rimsky-Korsakov, who virtually re¬ 
wrote this opera, is also famed for his 
fascinating Coq d’Or. 

America has yet to produce an operatic 
work of international recognition. The 
nearest we have come to that i through 
the dramas of Madame Butterfly taken 
from the exquisite story and plav of John 
Luther Long, and L’Oracolo taken from 
the clever story of Chester Bailv Fernald, 

I he Cat and the Cherub. 


Are Parents Always Right 

By Frances L. Garside 


It has happened, more than “once upon 
a time,” that a son or daughter has had a 
strong desire to study music, and the 
father or mother has objected. 

“It is all time wasted,” declares the 
father to the son. “All our family have 
been book-binders, and I wish you to keep 
up the family tradition. I don’t want any 
worthless singing or piano-pounding man 
m the family. Take up the trade of your 
ancestors. It was good enough for them; 
it is good enough for you.” 

The mother, more lenient, is willing the ’ 
daughter should study music long enough 
to learn a few short pieces. That she 
might have a voice that might take her 
to the operatic stage is an outrageous 
thought. 

“None of our family ever went on the 
stage," she says it with finality. “I can’t 
have you doing it. The stage is not for 
decent girls.” 

In consequence, the son or daughter 
either openly rebels and parents are broken 
m spirit; or there is submission that tinges 
a whole life with disappointment. Are 
parents always right? How often, it 
would be interesting to know, have real 
geniuses been lost to the world through 
their arbitrary ruling? s 

The father of Christoph Gluck was a 
v f J er u and was determin ed that his son 
ahould become one. The great composer 
in later years often told his friends how, 
as a boy, he would have to accompany his 
father bare-footed through the forests in 
the dead of winter, weighed down with 
hunting implements. These hardships 


toughened him to meet the privations that 
came later, when he ran away from home 
that he might earn money for a musical 
education, and which he finally secured 
after years of wandering from village to 
village singing for money. 

Rossini’s father put him in a blacksmith 
shop where he had to blow the bellows all 
day long. “It was not a bad way,” he said 
when fame had touched him on the should- 

w’n“° f J ear r g how t0 P ,a y « tune.” 
When he refused to drudge any longer 
saying he wanted to compose music, his 
father, m a rage, kicked the lad, saying, 
Out of my sight. I never want to see 
your face again.” 

Had the father of Schumann lived, he 
might not have known the discouragements 
that embittered his youth, for his father 
oved music and was in sympathy with him. 
But his father’s death left him in care of a 
guardian who compelled him to study law 
Schumann was a grown man before he 
abandoned the pursuit he despised, and be¬ 
gan the life of privation that ended in the 
triumph of his genius. 

The father, of Berlioz was determined to 
make a physician of him, and there were 
many stormy scenes before he was per¬ 
suaded to let the lad follow his bent. “But 
^ ™° ther ’’,’ he elates in his memoirs, 
fet begged me on her knees to renounce 
my plans, and, finding me unyielding 

face 6 again ” 1 ^ h ° me a " d " Cver saw 

hhftlThe Wagner ’ S . ste P- f ather wanted 
him to become a painter, and his opposi¬ 


tion to a musical career for his son was 
so determined and so powerful that the 
first music Wagner composed-a sonata, 
a quartet and an aria-were done in 
secret and kept secret until he had left his 
parental home. 

The father of Johann Strauss apprenticed 
him to a book-binder from whom he ran 
away. A friend found him, went to his 
father and tried to intercede. The father 
remained inexorable for some time, but 
finally gave his consent to the boy becom 
mg a musician if it would cost hm nothing 
Thereupon the friend took all the expend 
upon himself. y llse 

The father of George Frederick Handel 

him f the S ° n Was born - and wanted 
him to become a surgeon, regarding music 
as a degrading pursuit. He refused to And 

;h. child ,o*hc„lf„r f ,„ h eX£ ,t 

learn his notes there. A friendfy hand 
con rived to smuggle into the Handel home 
a clavichord which was concealed in the 

fe,f r ?oplay° n ** *** hi - 

It was with the image of Jennv Linrt 
before him that Mendelssohn wrote Elijrii 
and to , ? atch ‘he peculiar beauty’ 

teZF-ZX&Sig 

sSEMsts- 

mother had had her way 11 fter 

A passer-by heard the' child singing to 
her cat. The beauty of her voice wls 


c t0 , a ‘tention of the singing- 
master of the Royal Theatre in Stockholm, 
and he asked the mother to bring the child 
‘o sing for him. 

ed w F° Urt J Singin e master was entranc- 
ckiM u 6 ™ ade . the mother ^ offer for the 
her t Wh ' Ch stra “ ened circumstances forced 
Sfld aCCePt The theatre was to take the 
ctold, assume all the expense of her cloth- 

rr . 3nd educa ‘* on < and receive its 
thr™ ht When she became an asset 
hrough h er wonderful voice. The mother, 

boarL C u nee t0 make money, opened a 
boarding house near the theatre, and for 

for feedW S h reCeiVed ™ from the theatre 
cious »ho g OWn child- Grown avari- 
privatinne sub ‘ ec ‘ ed the child to all sorts of 
the theatr and ? ne day Jenny ran off to 
there Th 6 ’ asklng th em to let her stay 
tion and alV fbe merit of her conten- 
etumed h W6d Her to rem ain. She never 
latedl r 6 - She never - s he frequently 

life was mother thought a stage 

some unaer 6 Z Ied to P er dition, but in 
since her ,° UntabIe way, reasoned that 
should not had ado P‘ed it, she 

charity. glVC of her money to 


fortunate Zn t ^ ?"*«■ t0 tbe u " 

ever known k art,st ‘he world ha 

resulted i n ’bitter T<7 d ° nar give ” a "' a: 
her mother h" u T and abuse fron 
girl earned ’hid h^ ‘7 first monc - v thl 
home for her n^ devo,ed to buying : 

mdependenttrhfT 3 ^ 


the etude 


MARCH 


The Story of American Musical Clubs 


"None of us 

Mrs. Clark, for many years the Educational Direc¬ 
tor of the Victor Talking Machine Company, has 
been interested in music club work for the better 
part of her life. She has toured thousands and 
thousands of miles visiting clubs and addressing 
audiences in all parts of America. Her initiative 


By FRANCES ELIOT CLARK 

liveth unto himself, and no man dieth unto himself.’’ 

and her advice have been among the inspiring 
elements which have led to the establishment of 
many organizations, including the great Music 
Supervisor’s Conference. She is a “practical” musi¬ 
cian and was for many years a leading music 
teacher in the middle west, part of the time serving 


Rom. XIV-7. 

as Music Supervisor for the City of Milwaukee. It 
is a difficult matter to cover so big a subject in an 
article of this size but we believe that Mrs. Clark 
has taken up the main points so that “Etude” 
readers may have adequate reference material 
upon this subject. 


Why Belong ? 

The impetus to join one’s individual efforts to those 
of the group is as old as the race. The tribal unit has 
been recognized in all savage life, and even insects, birds 
and beasts centralize for safety and efficiency in swarms, 
flocks and herds. 

We humans have the same instincts, developed to a 
higher degree, with .the smaller unit of the family. Yet 
are we wholly dependent for life’s comforts and the 
“pursuit of happiness” upon the larger groups and or¬ 
ganizations of the community, the state and the nation? 

The need of the hour is for a strong co-operative 
pulling together among all music-loving people, aiding 
the press, the teaching fraternity, and the schools in 
their campaign to “Make America Musical.” 

Organizing for the knowledge and advancement of 
Music is not new in this country. The first move in 
this direction was the primitive choir of Puritan days, 
followed almost at once by the old-fashioned singing 
school. The old-fashioned singing “skewl” was an in¬ 
stitution much more social than musical. Many 
romances were brought to a climax while “Seeing 
Nellie Home,” but at the same time hundreds of young 
people were given an impetus to read simple music for 
better church singing, and even if simple music and 
primitive methods were used, out of them grew our 
great choral societies, and from them our present 
splendid festivals. The closing concerts of each session 
gave opportunity for much display of embryonic talent, 
even as in these modern days, contests, prizes and 
chautauquas, give opportunity to hundreds of young 
artists. 

Our Puritan forebears sang only psalms and hymns for 
spiritual sustenance. (History says that John Eliot, the 
great Apostle to the Indians, even taught his Indian con¬ 
verts to sing “ravishingly.”) 


Singing Schools the First Clubs 

These singing schools began about 1717 in New Eng¬ 
land, in New York in 1754, and in Philadelphia in 1760, 
where in 1764 Francis Hopkinson, America’s first real 
composer, taught the children of Old Christ Church 
“Psalmody.” The idea was developed in Maryland in 
1765. , However there can be little doubt that there 
were other efforts that have been difficult to trace. 

The first society organized for cultivating music was 
that in the Moravian Settlement at Bethlehem, Pennsyl¬ 
vania, in 1774, where immediately after the first home 
making in 1741, singing and instruments were used. 
This society was the forerunner of the now famous 
Bethlehem Bach Choir. From the beginning, here 
mostly German music was used. 

The first permanent regularly organized society for 
singing was the Stoughton (Mass.) Musical Society, 
formed in 1786, and it is still in existence. This grew 
out of the Singirtg School of William Billings, which 
he had organized in 1774. (Billing’s unmarked grave is 
on Boston Common, overlooked by the study of William 
Arms Fisher, its discoverer.)' 

From this time on, there are evidences, collected 
mostly by Sonneck, that organizations for the study of 
music were flourishing in many places. 


1762 

1772 

1773-4 


1786 

1788-94 

1789 


Harmonic Society, New York. 

Aretinian Society, Boston. 

ZJranian Society, Philadelphia. 

Musical Society, Boston. 

Musical Society, Stoughton, Mass. 
Society for Promoting Vocal Music, N. 
Musical Society (sacred), New York. 
Independent Musical Society, Boston. 
Amateur Society, Charleston. 

St. Cecilia Society, New York 
St. Caecilia Society. Newport. 

Uranian Society, New York. 

Harmonic Society, Charleston. 


1 Harmonical Society, I— - 

Essex Musical Associaton. Newburyport. 
Musical Society, Concord, N. H. 

1 Polyhymnian Society, New York. 
Philharmonic Society, New York. 


Musical Society, Baltimore. 

Philharmonic Society, Boston. 

Euterpean Society, New York. 

—From American Volume Grove’s Dictionary. 


In the nineteenth century the tide of emigration 
carried the singing school in its wake across the middle 
land , and far out on the Western plains. The writer 
well remembers her mother’s tales of the early Ohio 
singing school, in 1830-40, with the tuning fork and 
shaped “buckwheat” notes, and the struggle to acquire 
skill in “round notes,” which were considered very diffi¬ 
cult. Her own childhood mastery of sight singing in 



Mrs. Frances Eliot Clark. 

a later generation of these same singing schools in 
Michigan and Indiana is a fragrant memory. By this 
time “Glees” and “Anthems” in small numbers had been 
added to the hymns, which gave much delight and 
opportunity for aspiring soloists. 

The great choral societies that have meant so much 
to the keeping alive of the musical germ in America, 
began with the organization of the Handel and Haydn 
Society in Boston, 1815. It is not generally known that 
this epoch-marking event grew out of a great concert 
given in celebration of the signing of the Treaty of 
Peace of Ghent, ending the War of 1812. 

The next one organized, seemed to be the Musical 
Fund Society of Philadelphia, 1820, and the New York 
Philharmonic Society in 1842, this last, however, being 
instrumental in type. 

How the Convention Sprang Into Being 

An outgrowth of the singing school , was the “Con¬ 
vention,” which flourished throughout the latter half of 
the nineteenth century, and which led directly to the 
present “Festival.” The earliest “Convention” was that 
held at Montgomery, Vermont in 1839, led by two rival 
singing teachers, Prouty and Cheney. From there they 
blossomed annually all the way along the pioneer trails 
to Michigan, Indiana, Illinois and the entire Middle 
West. Dr. George F. Root was a master conductor in 
the 50's and 60’s, and converted the ephemeral “Con¬ 
vention” into “Normals” and “Institutes.” These “Con¬ 
ventions” and “Normals” developed logically into the well 
known Festivals of the present day. The oldest of these 


Festivals is that at Worcester, Massachusetts, begun in 
1858, which still annually calls hundreds of music lovers 
to hear the greatest artists in all fields of music, choral 
and orchestral. 

The great Cincinnati Festival held biennially, organ¬ 
ized by Theodore Thomas in 1873, is perhaps the largest, 
combining a huge chorus with a wonderfully trained 
children’s chorus, the Cincinnati Orchestra, and always 
great solo artists. 


The Maine Festival and the North Shore at Evanston, 
the Ann Harbor, and the Lockport, now Buffalo Festivals, 
are annual events of great musical interest. There are 
scores of others that serve their communities and keep 
alive the love of music therein. 


Music Teachers’ Organizations 

regular membership 


held. 


iturally e------ 

.J 1876 the Music Teachers’ National Association ’- 

formed by Theodore Presser, and a small group at Delaware, 
Ohio (Mr. Presser was at that time a teacher at the Ohio 
Wesleyan University in Delaware). 

In a number of States, music teachers, seeing the need 
of co-operation for better results, were encouraged by the 
National organization to form State associations. Most 
of these have proved effective and have functioned profit¬ 
ably in the State work. Ohio led in 1876, followed by 
Texas in 1885 ; Illinois, Michigan, Kansas, Kentucky, Rhode 
Island, and Alabama in 1886; Indiana and Colorado in 
1887 ; New York in 1889; Connecticut and New Hampshire 
in 1890. At present there are twenty-four of these associa¬ 
tions and their presidents are united in a National Associa¬ 
tion of Presidents and Past Presidents. 

School Music Supervisors early became alive to the value 
of coming together, and the Music Section of the National 
Education Association was formed in 1880. There are 
music sections incorporated with nearly all State educa¬ 
tional associations and many sectional organizations. 


The Supervisor’s National Conference was formed 
in 1907 as an outgrowth of a meeting of some seventy 
supervisors, called by the officers of the Music Section 
of the N. E. A. to investigate some rhythm work being 
done by their secretary P. C. Hayden, Supervisor in 
Keokuk, Iowa. The author of this article, then Super¬ 
visor of Music in Milwaukee, Wisconsin, was the pre¬ 
siding officer (being Vice President of the Music Sec¬ 
tion of the N. E. A.) and it was at her suggestion and 
on her initiative that the permanent organization was 
formed. It is now the largest of the National musical 
organizations, and is doing a noble work in raising the 
standards in public school music. The Eastern Music 
Supervisors Conference (formed later) is doing effec¬ 
tive work in New Erigland and neighboring states. 

The American Guild of Organists, organized in 1896, 
is one of the strongest forces for the advancement of 
church music, and for the encouragement of higher 
achievement of individual organists through examina¬ 
tions and the granting of fellowships. There are now 
many chapters affiliated with the parent body, and many 
of the leading organists are enjoying its honorary 
degrees. 

The National Association of Organists organized in 
1908, is built on “Coriventioning” lines, for discussion, 
mutual acquaintance, and benefits. 

All these associations and organizations, each in its 
own field, are doing a splendid work for the growth and 
development of music. 

The women’s musical clubs and the choral organiza¬ 
tions function more particularly in the community at 
large. Women’s music clubs were organized very early. 
Among the oldest still existing are the St. Cecilia, 
Grand Rapids, Michigan; the Union Music Club, St. 
Louis; Fortnightly Club, Cleveland, Ohio; Tuesday 
Club, St. Paul, Minnesota Amateur (now Musicians) 
Club of Chicago; Tuesday Club, Akron; Matinee 
Musicals, Indianapolis, the Mendelssohn Club, Rockford, 
Illinois. ’ 


How the Great National Federation Was Born 

At the time of the World’s Fair in Chicago, 1893, 
these clubs became more active, and as an outgrowth of 
the part that women took in the building and carrying 
on the activities of the Women’s Building, the many 
great concerts, under the management of Theodore 
Thomas and his wife, the great chorus under William 



































Page 162 MARCH 1922 

T . otn ji ns > and t,le first national convention of Amateur 
Music Clubs held in June of that year, there came a 
desire to form a National federation of such clubs, 
but this was not consummated until 1897, when at a 
meeting of the M. T. N. A. held in New York in 
June, a preliminary organization was effected by the 
^• 0rt L Ot - MrS ’ Russe " D °rr, the present Historian, 
Miss Marion Ralston, Mrs. Chandler Starr and others. 
In January 1898 at the invitation of the Amateur Music 
Uut> of Chicago, a permanent organization was formed 
and Mrs. Edwin F. Uhl, of Grand Rapids, Michigan 
was made the first President and later Mrs. Theodore 
Ihomas accepted the Honorary Presidency. The bi¬ 
ennial Conventions have been twelve in number, the first 
at St. Louis, 1899; the latest at Tri-Cities, Davenport, 
Kock Island and Moline, June, 1921. 

The faithful women of these clubs have from the first 
fostered the giving of concerts in their several cities, 
and were the first to make possible the recitals by the 
great artists in some of the smaller cities. It was the 
women of the earlier days before “managers” were 
known, who booked the artist, secured the guarantee 
rented the church or hall, sold the tickets, and some¬ 
times even the ushering and janitor work were done in 
order to bring real music to their communities. A 
combination of Clubs often made possible a tour of an 
artist who otherwise would never have dared taking 
the risk. s 

Later the pioneer work of fostering concerts being 
well in hand by others, the women turned to other 
channels of usefulness, and the exchange of programs, 
the getting out of courses of study for club work, and 
encouraging American composition and production of 
these works. 


the 


It you are an organist, it is professional suicide not to 
know the absolutely new field of service to music in the 
new order of music with high grade motion pictures as 
well as the new trends in the music of the church. 

If you are a music supervisor and not a co-worker with 
others in State, District or National Associations, the 
"Handwriting on the Wall" is plainly visible, and the knell 
of your departing day is heard, for in no branch of music 
is there being made such astonishing progress and in no 
other field is there being shown such marvelous achievement 
in the new lines of voice and instrument study, form and 
the appreciation of music. Not to know these things is 
criminal negligence to the children under your charge 
and the community you should be serving. The great 
majority of readers will say at once that “I am not a 
professional musician in any of these lines.” Of course not, 
but you are a citizen of this good old U. S. A. 

ft you are a club woman, then know that the olnh of the 


If you are just a music lover then wake up and hear 
the call which is loud and insistent for an unselfish 
reaching out to “give” rather than to “get”, to broaden 
out into a community asset pledged to further every good 
cause, looking toward making Music an indispensible 
part of every function, gathering, lecture and motion 
picture, instead of a miserly individual segregated group. 
Join the music club as an associate member, put your 
shoulder to the wheel and co-operate in organizing a 


ETUDi 

civic music association which shall first of all se 
that aroused public opinion shall bring such D ' t0 
to bear on school authorities that Music under com^ S1,re! 
instructors shall be regularly taught in every v 
school, with equal credits given for equal effort- k 
opportunity be given in the grades for every 
study Music at public expense, either within the s h '° 
or outside, under accredited teachers, exactly a T *■ 
now may study science, mathematics. „ r langu a( J ,! 
you love music and desire to share in the effort to h 1 
“Make America Musical” unite with others who "' 11 
also laboring toward the same end. Again, f or ft 
strongest co-operation help bring your club’ into th 
State and National Federation of Music Clubs, the * 
outstanding broadly altruistic untrammeled ’ nation"; 
organization,—working solely to promote the cause f 1 
music in this country through encouraging artists arf 
composers, and also by striking at the l oot of the diffi 
culty through helping the Supervisors in their problem 
of reaching every child in every school, rural or urban 
with the message of Music as a great educational fore 
as well as the greatest cultural element in his preparation 
for becoming a sane, happy, intelligent, co-ordinal,Z 
unit in American Citizenship. 9 


How to Form a Music Department in a Woman’s Club 

By Mrs. F. W. Wardwell 


Prize Contests 

The National Federation was the first to offer prizes 
in a large way to American composers. Much criticism 
was aroused, many asserting it to be all wrong, “im¬ 
possible” “no worthy work could be produced to order ” 
etc., etc.,—but the ladies went serenely along, offering 
prizes and giving the works public production. 

Curiously enough the giving of prizes for American 
composition has now been taken up by orchestras, opera 
associations, schools of music, festival associations, 
clubs, newspapers, colleges, and individuals until, so 
popular has it become that leading music journals now 
keep listed the various prizes offered for the informa¬ 
tion of the interested composers. Perhaps again the 
Federated Music Clubs may feel that their efforts have 
borne such fruit, that they may turn their strength to 
pioneering in still other fields, 


The contests for young artists have proved to be a 
worthy work. Forty-seven of these appear at the r 
Biennial, coming up through the " ' 

" e Nati-’ *"- 


the recent 


) through the State and District con- 
lu .„ L1 T, national. AU gave evidences of superior 
ability and the four winners who will go on a tour of 
the Ciubs this season will give ample proof of the value 
of this department. 

Two of the newer phases of work have already been 
begun. Of all the openings for constructive work, none 
equals in far-reaching vision of artistic results the field 
qt service to the adolescent citizen. This is taking form 
splendid lines, first, to get squarely behind the army 




st, to get squarely Dehind the 
lupervisors in their fight for credit recognition 
IC 111 the high schools, and second, to furnish piatfori 
• concert” public performance for the young embryo artists 
and also to bring music to the social service of all the music 
loving young people through the Junior and Juvenile 
Music Clubs. 

Credits for music work done within and without the 
high school are now being given in many cities. It is no 
longer an experiment. Many superintendents and boards 
of education do not yet see the value of music per se 

in the schools, nor yet as education. The leaders in 

educational thought are, however, frankly saying that 
Music is a necessity and of prime importance as a prepara¬ 
tion for life—also as a great force in stimulating the 
developing powers of the child mind. 

s di. l, - r yisors in many cities .and towns find themselves 
S5?„ bI ?> single-handed, to overcome the age-old prejudice. 
This is glorious work ready to their hand, for the clubs and 
on U8 the entSe r communit Ure ° f con£errlng endless benefits 

of C * n d -° ‘f 18 work alone - I£ needs th e co-operation 

or every music lover everywhere. “Musical atmosphere 

IN essential to musical development” but a musical 

WH°!J he 5' e / omes onl y hy the organized effort of many 
individuals for a common cause. ^ 

To What Shall I Belong? 

If you live in an unmusical community, start a sing¬ 
ing school, an appreciation club, stage a community 
opera or pageant, bringing in everybody. If you are a 
music teacher, there you should rub sleeves with other 
music teachers, that through exchange of ideas progress 
may be made. It was said by a speaker recently, “If 
you give me a dollar and I give you a dollar, we are no 
better off than before; but if you give me an idea, and 
I give you an idea we each have two, and are the richer 
thereby.” 

A good live Music Teachers’ Association, local or 
state, is a veritable incubator of new up-to-date ideas, 
and no one can afford to lose the broadening influence 
of such association. 


1- By devoting four or less of the fourteen or six¬ 
teen meetings of the club year to Music under a Music 
Chairman, having for the musicals either visiting artists 
or home talent. , 

2. By devoting the whole year to the study of some 
phase of music (See Plan of Study.). 

3 By appointing a Music Committee to take charge 
of the Department, either no extra dues being paid, or 
an additional fee being paid for membership in the 
Music Department, and the expenses of the Department 
being paid by the Treasurer of the Woman’s Club 

4. By inviting musicians to join the Music Depart- 
ment, assunng them of the interest of tfie Woman - s 
Club in the success of the Department. 

5. By having a Department whose officers are elected 
from its own membership and which conducts its own 
business, except to submit to the Board of the Woman’s 
Club for approval, the. program of the year 
sufLf y f0rming . classe / f °r th e study of some special 

ss sir - ” ° f ” b, ““ "-s "* 

a. A class with lecturer for the year on one or 
more of the following subjects: The construction or 

SSTn? USiC ’ The Muskal Educati °n of the 
Child, The Orchestra and its Instruments, The String 
Quartette, The Opera or Special Composers of Opera 

AlL r^ J f Eerman Music > The M “sic of the 
Allies The Music of the Slavonic Races, Folk Music 
etc. (See List of Subjects,” Plan of Study) 

b. A class with all work done by members of the 
Department, one meeting being devoted to study and 
one to music, or each meeting being devoted to study 
Study7 US1Ca 1 UStratlons (For subjects see Plan of 

c. Like (b) except that visiting artists are invited 

for nart 0 51?* ° f Pr6Sent V0Cal ° r “s^umental music 
tor part of the meetings. 

1- ® y '^hing a Music Club already existing to join 
with the Woman's Club, the separate officers and 
elections being maintained; the dues to the combined 
clubs being less than to join each separately; the ratio 
b ,f ng ?3 . t0 $2 or $ 4 for both the Woman’s Club and 
the Music Department; the business of the Music De¬ 
partment being conducted separately except that the 
program of the Music Department is presented to 
the Board of the Woman’s Club for approval- the De¬ 
partment furnishing to the Woman’s Club the music 
for two meetings during the year; $1 of the dues of 
each member of the Music Department being paid to 
the Treasurer of the Woman’s Club; members being 
admitted to either the Woman’s Club or the Music De 
n, r , t h men rVi, nde r! dentIy , ° r ujrt’ as voted by the Woman’s 
V™- W* best ««*lts will undoubtedly be obtained 
if the Music Department has charge of its own finances, 
for the efforts of the workers will be rewarded by 
funds with which to improve the Department.) 

Why Study Music in a Woman’s Club? 

• Because music occupies such an important place 
in the community; 2. Because a knowledge of the de 
velopment of music in the world is as essential as a 
knowledge of literature, poetry, art, or drama; 3. Be¬ 
cause study of the history of music adds so much to 


•the enjoyment of the good music one lie.,. 4 Became 
a lack of interest in music of some mm I , mav . “ „ 

the world a genius, on account of tin- r ,,or judgment 
of the mother in choosing instructors in music for her 
children. - 

Additional Suggestions to Clubs 
1. Programs should lie varied each year They 
may nearly all be given by club member with several 
members on one program, or capable .umbers may 
give recitals with only an instrumental, t . singer on 
each program. 

2 Particularly adapted to the large dub is the 
lecture recital, one or two of which should be upon 
each year’s program. 

3. Recitations of operas with piano accompaniment 

to I?/ 6 '?! S00d Undcrstanding of an It is well 

to study all operas ,n this way before hearing them. 

having t f hCr intCrCSting way <" opera is by 

read J u n ° teS m rCgard ,0 the hist ■-'■ of opera 
authn f'n, n, a skelcl1 °f thc compos r. and the 
Sowed h hbrett ° ° f the °P cra undcr < -deration; 
followed by selections from the libretto, interspersed 1 
with tableaux and music. 

t he ( o P '? a dUb programs are published. The Book of 1 
toe Operas is very useful). 

in diatomi* 01 ^ W3> S . t,ldy ot>era is ! ’V reading it 
of the chih T aSSlgnmg parts t0 different members 
sung to 1 T 0i the numb€rs be played or 
^ of sufficient 

victrela may be used. ’ mechanical p,an0 or 

knowlfdge^TTpedM ° Z .** eoti * me a,so adds t0 one ’ s 

number of P * C 3 com P° ser may be chosen and a 
7 p ° f excerpts g'ven from his works. 

eaM^nrasTssuTd"? 5°^ Sh ° U,d be asked t0 send 

be appointed ° designated members who should 

l0gues an d d 0r t o ° ^ newspa P«s, magazines, cata- 
year at TLT^T’ should report during the . 
ing topics: NewSo m ° u nthe on the fo,Iow - 

T* f °r instruments, ““ 

contain either" fol^ so^s ^ 1 Wa ‘ Ched to see that they 
of interest. gS ’ c I assi cal music, or new music 

or two conteWng wmks d of 0t th e “? leCto<L Aprograrn 

or cantatas are !Ln k * thls class > short numbers, 
Numbers may b ,' y ° rtb the time spent upon them. 
Paniment, one or two 1 ^ f ° Ur hand " 

The addition of ftom V ^ SmaH ° r large orchestra ’ 

■T other instruments t0 ^ 3 Cantat3 ' 
brilliance to the work^Tto t ° btai " ed ’ wil1 glVC 
the interest of man k ' J hlS chorus work keeps up 
take part y mem b er s who could not otherwise 


vilg^Lr’xr^f'r up T tire , iy ? 

listen tn ernnd • 16 1 ,s °f educational value ti 

nation without “ beC ° me 3 


THE ETUDE 


MA RCTI 1922 Page 163 


Fascinating Club Entertainments and How to Give Them 

By MRS. KENNETH L. WALDRON 

“Nothing great was ever achieved without enthusiasm.’’—RALPH WALDO EMERSON. 


Have you ever made an inventory of 
the reasons why the members of your club 
joined the club or why they continue to 
pay their dues? 

In most clubs it might appear like this, 
if you could get a sincerely truthful reply 
to the inquiry: 

First Reason: Because I believe that I 
ought to do my part in helping music 
along, and I want to help others. 

Second reason: Because it is “the 
thing”—all the best folks are joining and 
I want to be in the swing. 

Third reason: Because I want to be 
entertained and if I can be benefited at 
the same time all the better. 

Fourth reason: Because I want an op¬ 
portunity to display my talents. 

Fifth reason: Because I must be in¬ 
terested in something and music is the 
most fascinating thing I know. 

Yet, every club leader knows that the 
secret of the life of the club is incessant 
activity, incessant enthusiasm, incessant 
entertainment. Drop the entertainments 
and the club wilts like the lily in the frost. 

Club entertainments may be divided into 
three main classes: 

Musical, concerts, recitals etc. 

Social, luncheons teas, banquets, bazaars, 
fairs, card parties, receptions, dances. 

Dramatic, cantatas, operettas, pageants, 
children’s parties. 

The Club’s Concerts 

. Club concerts in recent years have tak¬ 
en on a dual character. First, we have 
those given by purely professional per¬ 
formers. Second, we have those given by 
club members. The first are easy if the 
club resources are ample. The second 
calls for the diplomacy of a Lloyd George. 
Recently I attended a meeting of a sizable 
club and listened to a program in which 
several of the club’s most prominent mem¬ 
bers appeared. Several of the voices 
were long past the time when nature per¬ 
mits them tj be charming, and the result 
was that the members were forced into a 
position of hypocrisy and musical misery. 
Such things cannot long continue if the 
club is to thrive. Far 1 letter to put such 
members upon imposing committees and 
let them use their valuable experience and 
enthusiasm in that way. 

While there must be a certain number 
of programs given in the more or less 
stereotyped form, the successful club is the 
one which is always wheting the interest 
of its members by presenting new and 
fresh ideas for club work in connection 
with its programs. 

One club in a large city presented a 
harp ensemble in which sixteen beautifully 
gowned women, all pupils .of a famous 
teacher of the instrument, played ensem¬ 
ble numbers. The musical effect was de¬ 
lightful and the stage picture was hard to 
forget. 

Another club gave a “Veiled Artist” re¬ 
cital in which all the performers appear¬ 
ed on the stage so veiled in pastel colored 
veils that their identity was concealed. 
These taking part were all young people 
who were glad to compete for a substan¬ 
tial prize offered to the winner. The ap¬ 
plause determined the prize winner and 
no one knew who were among the unsuc¬ 
cessful ones. 

National programs with the stage drap¬ 
ed in the national colors and the programs 
given a touch of the same have leen giv¬ 
en with great success in all parts of the 
country. Your publisher will be glad to 
furnish you with lists of natiqnal music 
when desired. 


A Poet’s Program, in which settings of 
famous poems are given accompanied by 
programs illustrated by the portraits of 
the poets is a good idea. 

A Valentine Program with club mem¬ 
bers dressed to represent valentines gives 
a touch of fancy and romance to the club 
year. The musical program for such an 
event might be confined entirely to love 

A Colonial Program, with the perform¬ 
ers t in colonial costumes—the program 
made up from music of our colonial times, 
Mozart, Haydn, Arne, Hopkinson, Pur¬ 
cell and so forth. 

A Plantation Program: Stage to rep¬ 
resent a cotton field—easily done with 
twigs and pieces of cotton. Plantation 
songs for solo, duet and quartette. 

A Flower Program: All manner of 
flower songs sung by members with dress¬ 
es trimmed with flowers. Souvenirs. 
Your publisher will gladly send you lists 
of these. 

American Indian Program: With the 
music of Lieurance, Cadman, Troyer and 
others. Lists are obtainable. When such 
programs can be given with an Indian 
Artist like Wathawa'sso, or with the as¬ 
sistance of the noted composers Lieurance 
or Cadman they are always highly appre¬ 
ciated. 

Social Entertainments 

It is of course impossible to surround 
all the social events of the club with musi¬ 
cal decorations. However when this can 
be done it is always effective, if not over¬ 


done. It calls not only for the zeal of a 
few of the club members who are willing 
to spare a little time to give the club events 
an atmosphere, but also a great deal of 
ingenuity and good taste. The Denison 
Manufacturing Company by putting out a 
great many highly attractive designs of 
musical type in crepe papers have helped 
the organizers of musical club entertain¬ 
ments very greatly. 

The writer went to a musical tea recent¬ 
ly at which there was a long table in the 
centre of the dining , room? On this was 
a snow white cloth and the Staff was 
made from five lines of narrow black 
crepe paper the Clef and the Signature 
also cunningly devised in the same way, 
while the Notes were those of the open¬ 
ing measures of the Star Spangled Ban¬ 
ner. The centres of the notes were filled 
with flowers and the general effect was 
a delightful surprise to all. 

Club receptions to distinguished visitors 
always provide interesting recollections 
for months thereafter. It is very stimula¬ 
ting to meet, personally, men and women 
who have accomplished hig things in the 
musical world. It is also a fine plan to' 
get the interest of public men in your 
work. If your mayor or your governor 
are interested in music, induce them to 
come to your club as honored’guests at a 
banquet, or at a reception. It will contri¬ 
bute dignity to the musical activities of 
your district to enlist their cooperation. 

Bazaars and fairs are in a class by 
themselves. When they are used to raise 
funds, your booths may be decorated with 


An Opportunity for the Music Clubs 

By Walter Spry 


Next in importance to the music 
teacher, in developing Musical America, 
comes the Music • Clubs. Their varied 
activities provide for the musical growth 
of the club members and also the public 
at large in their communities. More and 
more are they becoming interested, in an 
intelligent way, in the cultivation of a 
National art. 

Recognition of our composers on pro¬ 
grams is now more general than it formerly 
was, and it is generally conceded that the 
American Teacher stands as high in pro¬ 
fessional work as his foreign brother. 
The time is now ripe for the Music Clubs 
to recognize the American artist. This 
will be more difficult to do than recog¬ 
nition of the American teacher or Amer¬ 
ican composer. The large musical 
agencies are more interested in the foreign 
artist because there still exists in our 


country a certain snobbishness and a 
feeling that no good can come forth from 
this country, musically. Since the war, 
however, the people are beginning to rea¬ 
lize that there is no one nation that has 
a “corner” on music, and our symphony 
orchestras have thus been enabled to play 
the choice music of various nations. The 
best educators of all nationalities in this 
country agree that our American students 
average as high as any country in Europe 
in native talent. It is therefore reason¬ 
able to believe that a goodly portion of 
these talented pupils will some day be 
ready for the concert stage. Yea, they 
are now ready! Will the Music Clubs of 
this country grasp the opportunity to 
engage them for concerts, thereby devel¬ 
oping that side of our National Musical 
character ? ' ' 


Friendliness in the Club 

By Mrs. Virginia Kirby 


Let your musical club be a friendly 
club. Do it deliberately. Arrange with 
a group of your leaders to be on hand at 
the opening of the meeting and see that 
everyone who comes in is met with a 
smile and a sincere spirit of welcome. 
Let them feel that “This club is my club, 
because everybody wants me here.” 

In my experience the success of the 
music club movement is due to two things : 

a — The need for some outside of the 
home activity that will give the wife and 
the mother an opportunity for a fort¬ 


nightly vacation from her regular routine. 

b—The fact that music is about the 
most continuously interesting and fascin¬ 
ating thing in the lives of most upward 
looking women. 

Good music harmonizes socially. Mu¬ 
sical clubs have succeeded in this country 
where thousands of others have failed. 
Political clubs, religious clubs, card clubs, 
are often houses of contention. Not so 
the musical club, because music itself plays 
a part in bringing together various individ¬ 
ualities. However, there is still need for 
the cultivation of a friendly spirit. 


musical crepe paper to good effect. How¬ 
ever do not make the mistake of trying to 
compete with your local music dealer in 
the matter of price upon musical merchan¬ 
dise. He makes little enough as it is and 
it is not fair to give your services in such 
a way that his profits are cut down. Con¬ 
fer with him and he will suggest ways to 
help you. 

Musical Card Parties may be made 
more characteristic if the musical playing 
cards, on which the conventional hearts, 
diamonds, clubs and spades are replaced 
by sharps, flats, naturals and so forth, 
the face cards representing famous musi- 

Operettas and Children’s Events 

There are now many little operettas 
which may be given with great effect by 
small groups of women. The recent 
work, A Mother Goose Fantasy by Arthur 
Nevin, (Composer of Poia and other grand 
operas), was written expressly for this 
purpose. It calls for a good soprano, a 
good solo dancer, several other singers of 
lesser pretensions and as many children as 
can be used. Other works suitable for 
this purpose are: 

Wild ’ Rose, W. Rhys-Herbert. The 
Feast of the Little Lantern, Paul Bliss. 
Se-a-wan-a, William Lester. The Amer¬ 
ican Girl, Charles Vincent. The Witch 
of Fairy Dell, F. W. Wells. 

For Girls of High School Age: Prin¬ 
cess Chrysanthemum, C. K. Racter. 

Operettas for Children: The Moon 
Queen, L. F. Gottschalk. The Fairy 
Shoemaker, T. J. Skewell. The Isle of 
Jeiyels, G. L. Spaulding. A Day in Flow- 
erdom, G. L. Spaulding. Pandora, C. E. 
LeMassena. Rose Dream, R. R. Forman. 
The Fairy Rose, Eliza M. Woods. 

At least once a year a children’s concert 
or a children’s play should be introduced. 
The writer attended one recently in which 
at least sixty children took part. The 
music was arranged from popular classics 
especially for the occasion. The scene 
was that of a Toy Shop and the children 
took the part of the toys. The audience 
was composed almost entirely of adults at 
the evening performance, but it was more 
enjoyable than most professional enter¬ 
tainments. There were no speaking parts, 
but much excellent pantomime. How sim¬ 
ple or how elaborate such entertainments 
may be depends upon the initiative of the 
club leaders. 

Many clubs have given some of the 
Musical Playlets for children, by J. F. 
Cooke with such conspicuous success that 
daily papers have devoted whole pages to 
descriptions of the event. Journalists know 
well the parent's enthusiasm for any activ¬ 
ity of his child. These little plays are each 
centered about one of the great masters, 
Chopin, Bach, Liszt, Mozart, Beethoven 
and so forth. They are written in child 
language and are real plays. They may 
be given as dialogues without special scen¬ 
ery or costumes; or, they may be present¬ 
ed with elaborate costumes and scenery as 
the resources of the club permits. 

Music Memory Contests also form an 
important part of the work of the modern 
club. These are excellent for children. 
The children are first acquainted with a 
great deal of the best music of the day. 
Then at the time of the contest, some one 
plays some of the themes from the pieces 
the children have heard and the children 
are expected to identify the themes. The 
contests have justified their existence as 
practical educational devices and they are 
now being held in hundreds of commun- 


























THE ETUDE 


Page 16k MARCH 1922 

How Hofmann Masters a Difficult 
Passage 

By S. E. Jennings 

In every composition there are some places harder to 
get than others. To get these places, to be able to play 
them smoothly and up to time, the teachers tell us to 
take these parts out and practice them by themselves 
until they become as easy as the rest of the piece. Often 
however, after the student has mastered a particular 
passage and is able to play it perfectly as a separate part, 
he finds, when he starts to play the piece as a whole 
that the same old difficulties present themselves; he’ 
stumbles and is apt to break down altogether. 

Mr. Joseph Hofmann has suggested an excellent 
method of overcoming this difficulty. “Practice,” he 
says, “the difficult part alone until it is mastered. Then 
take the measure preceeding the difficult ones and the 
measure following them and practice the whole passage 
through for several times. Then take the two measures 
preceeding and the two following and practice them with 
the difficult part as a whole passage, after which the 
passage should be enlarged to include the three or four 
measures preceeding and following until one finds that 
he can fit the passage into the whole and play the whole 
composition with an ease and assurance which will more 
than repay him for his labors.” 


Department of Recorded Music 

A l^ofal Review G™J*e U«* U» fa » Se.,ch .1 .he Be.. New Record. .»d 
Conducted by HORACE JOHNSON 

music and no other kind, his ear will learn to discrim. 


Shall We be Ourselves? 

By Frederick W. Perin 

Sir Charles Villiers Stanford, in the excellent ad¬ 
vanced History of Music written in conjunction with 
Cecil Forsyth, takes up the matter of “nationalism 
in music” in a manner which should be seriously con¬ 
sidered by musical clubs. He says: “No lesson is- 
more needed in England and America than the lesson 
of nationalism. Only by a fearless belief in itself can 
■a people hope to possess an honorable music.” 

In a large measure this is born out by facts. Russia 
aped the music of Italy and Germany, until some of the 
real determinative minds in the art began to realize 
that it was possible for Russia to have a really Russian 
music. Then came the great procession of Glinka, 
Balakireff, Moussorgsky, Borodin, Rimsky-Korsakoff’ 
Tanieff, Glazunov, Rachmaninoff, Scriabine and Stra¬ 
vinsky, all producing music as Russian as the samovar. 

If they had followed the lead of Rubinstein, who wrote 
a few masterpieces in German style, the great musical 
art of Russia would not exist. 

The same may be said to be true of the Scandinavian 
countries, who found themselves in the art of Grieg and 
his followers. Prior to that time the great Scandinavian 
master was Gade, who was so German that he was 
known as “Mrs. Mendelssohn.” Despite Gade’s many 
splendid works, it must be admitted that he now stands 
far behind Grieg. Why? Because he did not recog¬ 
nize his natural heritage. 

„ , Slr CharIes > in speaking of the average student, says: 

As a rule he goes to Germany—the country whose 
technical proficiency is beyond question. There he 
masters all that the Germans can teach him. But when he 
returns home he does not set himself to answer any of the 
deeply important questions which we have already men¬ 
tioned in discussing folk song. He does not ask himself 
whether, after all, his musical attainment is merely a 
brilliant slight of hand which anyone can pick up with 
cleverness and application. He does not say ‘I have 
earned so an so from the Germans. How did they 
learn it? He accepts the German art of his day as 
a boy accepts a Christmas present of a box of conjuring 
tricks. He never honestly knows why the tricks are 
done and so is never able to invent a new one. And 
in time the old apparatus, now worn smooth from 
constant use, begins to show the pogs and springs inside.” 

Probably this is the reason that we have scores of 
composers who are bitterly bewailing the fact that ' 

ITh, ( !° r th£ r St Part tracings of ^rman 

models) do not get a hearing. Because of their real- 
izahon of their native musical entity, Sir Charles praises 
J. K. Paine Arthur Foote, George W. Chadwick, Edgar 
Stdlman Kelly, Mac Dowell, Cadman, Farwell, Parker 
Mrs Beach, Hadley, Carpenter, D. S. Smith, but most 
almost J ° h ". Phl h P, Sousa - who, though he has written 
to S,V ChiT g ” thf i. 0, , d dassic forms ’ * according 
coufd ha? h 6S ’ ,, Pe iarIy American in that his work 
cou d have been done nowhere else.” “He has done one 
particular thing better than any living man,” "he is 
country/’ “* ** m ° St distinctive figures in the 


Editorial Records 

For some time I have watched with interest the 
activities of the Educational Departments of the Colum¬ 
bia, Victor and Edison Companies, under the efficient 
direction of their Educational Directors, Mr. Willson, 
Mrs. Frances Clark, and Dr. Farnsworth respectively. 
They have been most zealous in their work for the 
cultural musical development for our • American youth. 

■ In the February Delineator there appeared ail article 
on this subject in which I endeavored, to state my opinion 
of these records, ?nd by kind permission of Mrs. 
William Brown Meloney, the editor of the Delineator, 
I am reprinting it below. For I feel I could not express 
to you-any more clearly than what I have already said 
about the Educational Records. 

“Until very recently the performance of good music— 

I mean by that term music that is not only melodious 
but that is spelled correctly and written according to 
the laws of harmony—was the exception rather that the 
rule in cities and towns outside the great national 
centers. There is a gradual change, however, and 
artists say that each year the audiences that they face 
show a greater interest in good music. I firmly believe 
that the greatest single cause of this is the talking 
machine record. 

A concrete evidence of this fact was shown me not 
long ago. A young man came to New York from a 
small town in Kansas. He knew very little about the 
ways of a large city. There was one thing, however, 
that he did know, and that was music. He was familiar 
with the work of every one of the great vocal and 
instrumental artists in America, either in opera or concert. 

I was greatly interested to know how he had learned 
to appreciate music. He told me that he was the 
youngest of ten children in a family of farmers. Neither 
his mother, his father, nor any of his brothers and 
sisters knew anything about music. When he entered 
the sixth grade in school, a new teacher came to his 
class fresh from Teachers College in New York. 

One of the first things she did was to buy a small 
talking-machine and a few educational records, re¬ 
productions in simplified orchestral form of the work 
of great masters. At first the children spent the entire 
daily music period listening to the records. Then the 
teacher asked them to tell her what stories they heard 
in the music, and with eager ears and fascinated minds 
• they listened lest something escape them. 

, Little by little the interest grew in what seemed to 
them not something more to learn,” but a new game 
to play. Soon all the other teachers in the school had 

?sic g ' m A? neS I ; 6 ™ t6ll J ng their char S es about 
music. And as the boy moved up a grade each year 
he learned to analyze the form of the classics, to dis¬ 
tinguish the tone and color of each instrumen of the 
modern orchestra. With the first money he earned after 

graduating from high school he bought a talking-machine 

and pursued his studies. 

The education departments of the talking-machine 
companies are responsible for the musical appreciate 
of this young man. They have been most ffidusSs 
and zealous in the past ten years, in spreading their 
work over the entire country with such efficiency that 
there is hardly a school teacher of the presenT time 
who is not thoroughly familiar with these records 
Hut it is not teachers alone who Should be interested 
m the national musical growth. It is you, the mothers 
the aunts and the grandmothers of the country, who 
must realize, too, the pleasure and joy that intelligent 
appreciation of music brings and take into your home 
the happiness music creates. * nome 

You cannot feel at this present day that you are 
domg your fu 1 duty by “giving Fred piano lesson ’’ 

wn ld L ° U1Se StUdy sin S in & ” ' Certainly you 

would not attempt to teach the alphabet to your children 
before they learned to talk. Then why waste money on 
music lessons before your children know what music is? 

i? Pe f t V S H fir , St th!ng a baby hears - Everybody 

talks to him Yet he does not learn to talk untilhe is 
two years old When he does talk, however, he develons 
very rapidly, for he has been listening and absorbing th 
sound of words from early babyhood, mid his "ar N 
attuned. Cdr ls 

Now, do not jump to the conclusion that I am trying 
to infer that your child of two weeks can be trained !? 
a great musician just by putting a talking-machine be ide 
his crib and playing records to him daily until he i! 
five years old. What I am trying to make clear Lthi - 
tha t if any and every child of three hears the best in 


ak's Sylvia, 
sings it 
it The 
t this song 
1 has made 
warm and 
The song, 
" ward un¬ 


music aim mu ...- —.. aiscrim- 

inate, and he will reject the bad and prefer the good 
purely by the unconscious training his car has received 
Then, when he is five years old, he can lie taught to 
read notes as he would be taught lo read words. And 
music will not be a study unintelligent to him, as it 
has been to so many children, for his sense of musical 
sound has developed as his sense of word sound has 
been stimulated from infancy. 

Several hundred records have been adapted to stimu¬ 
lating the interest of the young in music- | n addition 
to these records, books and pamphlets haw l>een com¬ 
piled to illustrate the value of the re, These 

prospectuses and informative booklets may lie secured 
by application to the education department ,.f t| lc ta |j c _ 
ing-machine companies.” The talking-marl i compan¬ 
ies have gone to great expense to issue special liooks to 
accompany history, rural, Americaniz.it i. and other 
progress. These are usually given grat: i •|„, n app ij. 
cation. 

New Records 

Those of you who have heard Loui < ueurc in 
concert have surely heard him singOley S 
and have not forgotten it. For Mr. 
always as an encore if he docs not |>r..c 
Columbia Company has published a recoi l 
by Mr. Graveure with his consummate art 
an exceptionally fine reproduction, and In 
vibrant tones have registered with darn , 
simple and effective, is written in straight 
assuming manner which has embodied all . i n ms 
Somehow the compositions which are wntt,, j„ -i mp l e 
manner occupy a special niche in our nm , , minds 
Such a song is Alice II’ lie- Art Tlum. Th T a song 
of our mother’s and grandmother’s era it m mmands 
attentjon whenever it is sung. Miscl.a liman, the 
violinist, has made a transcription of the md-h which 

f74724i mC H r!,O i ated 0n “ disC for th ‘- Vic.: ■ ompany 
(74724). His tone is so full and musical f ,t seems 
a vmce singing, which suddenly enlists , singer 

when Mr. Elman plays double strings. I , prac- 
.cally no florid work of any kind in the „ V ion of 

hearinl eC f' 0n -r et -, ,hC rCC ° r<I is a reproduction , 
earing for its dean phrasing and suretv , 

faffs.'eSSTS 

fiavo'T'Uich’T/ 80 thCrC ap|,carcd a Ballad. Sc-tch in 

now that it wL a- h™" recorded, but I know 
the Brunswick Th * ‘° * SUng by Th ™- Kar le for 
and Mr. Karle J “ / ' as * °’ A! "" ' 

His voice, a light Iv.: V m ° st appcalm g reproduction, 
vocal art with S!. , Soars to ,ho hil| -tops of 

a touch of atmosnher t ’ n ,ancy - Th e orchestra gives 
Pipe, and weaves a straffi Th"* ,° f a harp and a bag ' 

,n Ma a r’f ra * mentai7 fnterhide 

Metropolitan??/." bon ’ i. a,wa >' s associate with the 
has made S p ° n ° f R'msky-Korsakoff’s Cogd’Or 
(30150) for S vo C a r i? n -?,° f Ncvin ’ s ™'' Rosary 
ments are a violin „> 1 le accompanying instru- 

selection and introduce M ^ o harp ' Tbc >' bcgin the 
theme of the song W ^ ^ Sundelil,s «'ith the first 
d 'ction is unusugiiy fiZ v °l ce , has registered well, her 
interpretation building ro ? ? sings with intelligent 
effectively. g to the climax of the song most 

■■■««,.o., r mj 

Mr Bnriv ^i . 11 Italian thnnlk 1 , iv<?Iy Russian in spots 

Plays with 8 (one h as LeiJtll » v " hal Frltz Kreisloriim. 
REco E ^ U p“" eh charm. rp ° r< ’ un 'l "ml full, and he 

vi^s U Or^h Ck 7‘ G,00 't'%e T /’rc«,, Gf: D F:RAI ' Mcsicai, Interest 
Columv estra - ’ Butterflies, Fox-Trot. Sel- 

^ «-el (A 3524). 

f VocaIion-“S M «’ Zane »l (86013) 
ra (14288). 0n ° Melody, Fox-Trot, Selvln’s Orches- 


<11 worth 
v/ Home 


~the etude 


MARCH 1922 Page 165 


How to Organize a Music Club in Your Community 


In the old days the term “Music Club” 
meant a group of perfectly proper, exclusively 
nice ladies (musicians and lovers of music), 
who gathered together at stated times to 
listen to each other perform and for social 
enjoyment, with the sole idea of receiving, 
never of giving, benefit. This old type of 
music club is a thing of the past; the mis- 
sion of the progressive music club of today is one of 
service. Organized co-operation of the club with the 
community is the only basis for a proper relationship, 
and the success of every club as a unit depends on the 
service the club renders the community musically. 

There should be no argument as to the value of 
organized effort in rendering service. As stated re¬ 
cently in The Etude, “That organization compels recog¬ 
nition is an axiom as old as the world. In music it 
has worked wonders. We refer, here, almost entirely 
to the organization established primarily for the good 
of the art and not for mercenary aims. . . . Non¬ 
commercial agitation for the advantages of music as 
carried on by the music clubs of America, has aided 
in our progress more than any other thing in recent 
years.” There are many ways in which service may be 
rendered. „ , _ 

What the Music Club May Do 
A music club could present a fine “Artist Series” or 
“Concert Course,” indeed, the club could do thig much 
better than the average musical agency or manager 
for the members would have an actual knowledge of 
what the community was ready to digest musically. 
For the advantage of their own children, the club 
women would see that special rates were given to the 
young people. 

A club can lead public sentiment to secure a proper 
place for music in the school curriculum; it can see 
that the children are being taught in school to love 
good music and to read, write and listen to good music; 
it can see that the school board gives credits for 
music work done out of the school and that the work 
of the music supervisor in the school is considered of 
as great importance ■ as that of the other teachers. It 
can also see that high school bands be supplied with 
instruments and that all grade schools be equipped with 
pianos, piano players or phonographs. Last but not 
least, it can be vitally useful in aiding the. supervisor 
to conduct music memory contests. 

A club is the logical patron of a settlement music 
school which uses music as its opening wedge to teach 
a better and higher type of citizenship. 

A club can do much to elevate the standard of music 
presented in motion picture houses, and can supply 
music to the city institutions, homes, hospitals, prisons 
and such organizations that otherwise would be deprived 
of the comfort and cheering influence of this great art. 

How to Make a Start 

Having agreed that the organization of a music club 
in your community will be a distinct contribution to the 
musical development of the public let us suggest a way 
of starting such an association. If you alone have 
conceived an ambition to do this, call your music loving 
friends and acquaintances together to discuss how best 
to proceed. At this meeting state the benefits resulting 
from organized effort. Tell your friends that the 
greatest business men of the age have acknowledged 
that a worthy art organization in any community is 
a definite investment to civic and business advantage 
and quote from the following statements by notable men. 

Otto Kahn: “Worthy Art organizations are genuine 
assets in the lives of the people who support and pat¬ 
ronize them and distinct and profitable business to 
the city." ... 

Charles Schwab said of music: ‘Again and again 
it has refreshed me when.I.was dog-tired; taken me 
out of myself and away from the problems of business. 
A book can do that, too. So can a painting. But not 
so surely as does music.” 

Edward Bok in his famous Autobiography says: 
“After a busy week, he discovered that nothing, he had 
ever experienced served to sooth him so much as the 
end of the week orchestra concerts.” 

It is so easy to prove that a club would add to the 
attainments and aspiration of any town; the home, the 
school, the church and the interests of music and art 
generally are served by an organization devoted to 
Music alone so it should be a pleasure to present a 
plan to form a club. 

Having done so, agree on a time and place for a 
meeting for organization and send out a call to this 
meeting to every music , lover in the place, irrespective 
of whether wou know them or not or whether or »ot 
they are in “your set,” or of your religious faith. 


By MRS. FREDERICK W. ABBOTT 

Director of the Philadelphia Music League 
Expert Advice from a Highly Successful Organizer 


Mrs. Frederick W. Abbott, the author of this 
article, was for many years the President of one of 
the largest American Musical Clubs, The Matinee 
Musical Club of Philadelphia. During her term 
of office the work and membership of the club de¬ 
veloped enormously. She was then elected one of 
the Vice Presidents of the National Federation of 
Musical Clubs and became a valued adjutant to Mrs. 

F. A. Seiberling in the Extension work conducted 
by the Federation a few years ago. Recently her 
unusual qualification^ led to her election as Director 
of the Philadelphia Music League—the new “musical 
clearing house” established to serve all Philadelphia 
musical interests. 

Remember that music has no race or language, no creed 
or class ; it is universal in its appeal, so invite all who 
love the art to attend the first meeting and share in 
the joy of creating a worth-while organization. Issue 
the call in the name of the original group and promise 
that all who attend the first meeting may join as charter 
members. The call should state the object of the meet¬ 
ing and should solicit the support of all music lovers. 

Prepare an organization plan to present at the first 
•meeting, then select one member of your group to 
preside and appoint a temporary secretary to make 
a record of proceedings.. 

At the first meeting, call a roll of those invited, 
er of those present (if you know all present). State 
the business of the meeting and repeat the call. Choose 
an eloquent speaker to present your argument; if pos¬ 
sible arrange for a member of a near-by live club or 
a representative of the National Federation of Music 
Clubs to do this. Ask for a vote of those present as 
to whether or not they are agreed as to the need for 
such an organization. If enough are favorably con¬ 
vinced, perfect a temporary organization and appoint 
a committee to report in a fortnight, with a draft of 
a Constitution and By-Laws. A knowledge of parlia¬ 
mentary law is not required, but the original group 
should keep a non-partizan eye on the elections and 
try to steer their craft through the first difficult chan¬ 
nel's. It is necessary to protect a new club from the 
demoralizing influence of incompetent and untrained 
workers if success is to be obtained. 

What to Avoid 

In the conduct of your club it is necessary to avoid 
certain things. 

Avoid electing to office prominent teachers. It is 
obvious that to do so would create jealousy, for it is 
human nature to look after ones own, and any teacher 
would be more than apt to give prominent appearances 
to his or her own pupils. 

Avoid permitting the administration to represent any 
one faction or social set. 

Avoid placing all of the administrative power in the 
hands of any one class of membership, as the active, 
or the associate membership. 

Avoid spending all of the club income on visiting 
artists, and remember that programs exploiting home 
talent with money spent on scenery costumes, decora¬ 
tions and so forth are of double value. 

Avoid permitting your club to develope into an asso¬ 
ciation presenting an “Artist Series” only; it is the 
club spirit that counts. The inspiration which comes 
from concerted effort, representing the best work of 
many women actuated by the common love of music, 
must be counted the most valuable asset of any volun¬ 
teer non-coijimercial organization. 

Avoid programs of too great length, it is fatal to 
sustained interest. One hour and a half is long enough 
for any well balanced program. 

Avoid an unbalanced' active membership. Try to have 
a diversity of talent representing the voice, the piano, 
the organ and stringed instruments. 

Avoid an unpleasant atmosphere at the door, where 
a cordial warmth and welcome should prevail. 

Avoid too many platform notices; it is an imposition 
on the audience. 

What to Emphasize 

Build your club upon a firm foundation. Ask suffi¬ 
cient dues to cover legitimate expenses and then count 


on the loyalty of your members to support 
civic, state and national calls. Create a re¬ 
serve fund by asking each member to help 
once a year in some event for the benefit of 
this fund; this will build up club spirit and 
finances at one and the same time. 

Select your program committee with care. 
The program committee is the most important 
committee in the club, as the programs must be care¬ 
fully planned and executed, for they must, at one and 
the same time, use the club talent and please an often 
exacting associate membership. 

Foster the club spirit. Try to engage actively and 
intelligently the time of the members. Always give 
due credit to each worker. Eliminate jealousy and 
narrowness. Let no difference of opinion among the 
members separate them from the cause and remind them 
that the purpose of all of them is the same. Teach 
your dub the value of holding together for the sake 
of service. 

Develop your Reciprocity and Altruistic departments. 
This will build up a fine club spirit, as when you are 
entertaining outsiders a united front is necessary; and 
when you are taking the message of “song” to institu¬ 
tions, homes, hospitals, factories and prisons it developes 
a broad spirit of tolerance. Petty differences are lost 
in the thrill that comes from making happier the 
less fortunate. 

Make harmony the key note of your club life and 
keep in tune with the infinite. 

Get Close to the National Federation 

Finally, foster state and national ideals. By affilia¬ 
ting with the National Federation of Music Clubs your 
club will get the benefit of contact with organizations 
of the same purpose in other communities. A broad 
vision and outlook are inevitable. Such an affiliation 
will aid in building up your club as your members will 
take pride in having their club and state organization 
hold a dignified place in the national body. 

I am appending a suggested Constitution and By-Laws 
which are merely a guide. They are obviously subject 
to change to suit your special needs; at the same time 
they are the result of considerable experience in club 
organization and government. The -Executive Board 
has been fixed at nine members; this is no more than 
needed for almost any club, and yet sufficiently great 
for any but an unusually large club. The number com¬ 
posing the Program Committee has been purposely 
not mentioned as this depends on the especial needs 
of and material available in each individual club. 


A Suggested Constitution and By-Laws 

CONSTITUTION. 


Article i 
The Name of this organizati 
(the most dignified name would 
lowed by “Music Club,” viz, “I 

Article ii Purpose. 

The purpose of this organization is to foster and promote 
music and music interests and to encourage in the home 
and the community an appreciation of good music. 


hands ot the Executive Board. 


thirty days in advan 
amendment has been 
previous meeting by a 


Article i. Membership. 

Section 1 There shall be Honorary, Active and Associate 

Section 2. Honorary Members shall be those who shall 
have attained musical eminence, or who have rendered some 
special service to the cause of music. They shall be elected 
only by unanimous vote of all members present at any 
annual meeting. They shall not be liable for fees or dues 
and shall not be entitled to vote, hold office or propose 

ne Sectlo™* > 3. Active members shall be those having the 
ability to sing or perform upon an instrument in accordance 
with the standard set and maintained by the Club. Their 
qualifications shall be passed upon by the Active Membership 
Committee. They shall be prepared to appear as directed 
on the programs of the Club. 

Section 4. Associate Members shall be those interested 
in the advancement of music. 

Section 5. Applications for membership shall be submit¬ 
ted to the Chairman of the Membership Committee, in 
writing, proposed by one and endorsed by two Club Members. 
Applications shall be published to the Club at least thirty 
days previous to action upon them. Applications shall 
be voted upon separately by the Membership Committee 
and the candidate declared elected, unless two negative 











































the 


Page 166 MARCH 1922 


Article ii. Fiscal Year. 

The Fiscal Year of the Club shall begin on May first. 
Article hi. Dues. 

Section 1. The initiation fees for active members shall 

an d foe associate members shall be. The 

for associa'te'members. f ° r aCtlVe members and. 

after their elSn! “ U bC payable within thirt y da y 8 

Resignations must® be'lade Tn Siting‘frth^sfe: 
the 0r d G ues a of the**ensuingear? 6 member becomes liablffor 


x. xuv miTimvc 13 oar a snail consist of nine 

MiaTl b choos^frmn b t'he a r own°mimber^ii U pre”dent e ^ vlce-nre^ 

l^f ; n?/. eC o 0 ^ ing . 8eCr€tary ; a corresponding and Federation 

secretary , and a treasurer ; and from the entire membershin 
<> f the . club ’ Including tin* Executive Board, they shaH 
the standing committees and their chairmen 
subject to the provisions of Article V. The Utamis™ 


jjfj*® Club ; shall collect aU"fet__ 

money in a bank account in the i 

B ° ar ’ d nhal? presell full wrft^n°«po?t 

iS y« 

Article v. Standing Committees. 

Section 1. The Membership Committee shall cnn«; a e 
the Vice-President, who shall he Phnivn,,,,, ,-i, e0n ?, lst of 
of n the S rn,h Fed ® ratio “ p ecre tRry, and three other members 
thec h onsfder b ation h of V apn a i caH„ e fs Z ° ftei L 88 neee^ry ’°for 

s»'" srsszr ss 

srfwRcl clidiai"!*;;-, S,;l ssjss «»■ 


Article vi. Meetings. 

frOTn° November 1 first be hdd 

December fnd S March. BUSine8S Meetings sha ” »c held in 

lhfs eCt monthlv h fr^ ee n ti 7h Board sba11 hoId regular meet- 
meetings of ^ October to May inclusive. Special 

uoti C \ B hf lneand 

tol ExeSV^ofrd ° f thC President Sr B t hree S members^of 

members^ t til? fife ^y^ “fh/rtfF b6 “ ^ 
lastotogular ESaWtKiS £ ZrS^ *"*" be tbe 
Rec|r e diS Ub Se 8 c h retary e ; : l] 

Article vii. Elections. 

Section 1. Elections shall be held annuallv on the 


IHisispsg 

K^H*£fcSi@ 

considered unless made by two members sha11 be 

toan^n^vote^for ™ e s?ngfe candidate perndt ‘e d to cast more 

appointed V^'Set? 1 ’ tellers 

shall be among those annohited candidate *» an office 


Ten Suggestions_for Musical Clubs 

Mrs. E. H. Hart, Meridian, Miss. 

I. Every musical organization should join the State 


? etude 


and the National Federation. 

II. Get as complete a list as possible of the Clubs 
and active musicians in each state. 

III. Club leaders, music teachers and musicians in 
general should be led to see that it is greatly to their 
personal interests, as well as being a personal obliga¬ 
tion, to answer as intelligently, and as promptly as pos¬ 
sible, inquiries in regard to musical statistics. 

IV. The music club should secure as much publicity 
for music as possible. Support the music week idea, 
“The Golden Hour,” the Music Memory Contests. Bring 
these things before the public eye from the pulpit, from 
newspapers, in picture shows. Stimulate Community 
Songs. 

V. A State Musical Organizer, or Superintendent, 
should be a great asset. Some man or woman thor¬ 
oughly interested in the best music, who can speak with 
authority upon musical subjects, should be paid a salary 


to supervise and promote musical publicity. This 
son might organize new clubs, choral societies Per ‘ 
orchestras, and so forth. ’ sma U 

VI. Annual Prize Contests for performers and 

posers are desirable. I consider them among theta"' 
activities in the Mississippi Federation. Dest 

VII. It is the duty of musical clubs to see that th 
is a competent supervisor in every public school. Wt 

VIII. Each state should adopt a musical s W a 
This may best be circulated by placing stickers um 
envelopes, or having the slogan printed upon the sta" 
tionery. 

IX. Now that women have the right to vote, the 
should consider the desirability of more state support 
for music. 

X. The musical clubs may fight jazz by taking up 
good music, or by establishing band concerts in small 
communities, at which good music may be heard. 


Five members shall constitute 


They shall fill, for th^ SSSS& VuonZ? tlZZZ 
any office left vacant. TMva moTr,K«v.« ~i_ 01 tne term 
a quorum. 

“SK of-to^Club- 1 shall be a Cha P irman of‘the” Executive 

Club^tiii?* 11 ]? B iS C to Il0 written C coniract a41 ’of W toe 

toehExecutlv^^o^nf^shal^aeMgr^ aS «“> 

—» 0 f ai t?s^tS. afigw 

of all the members of the Club Bast and nreLft • ^V e £°?, d 
with the President, sign all written contracts of the Clul: 

Bhai e i Ct have b ’charg e C of r< aH° I let?5s a sent P 'to er thp 0 Cl ^h Cre ^f r ji 

Rn V8 n - tiCe ° f all meetings of the Club and rf the Exicuttoe 
’ and shall prepare and send communications as 
directed by the President. She shall kffn7» 
the current membership of the Club and shall keen ® h _ owm f 

ssrafe sari 

nf £&<*!!!?“« «*»“ receive and hold the funds 

‘S and dues and keep all Club 
f the, dub. She 


Get Inside 

Mrs. John F. Lyons, of Fort Worth, Texas, Presi¬ 
dent of the N. F. M. C., in her opening letter to the 
clubs, stressed those points which, in her valued opin¬ 
ions, were of greatest value to the music clubs. Her 
concluding paragraph should be of especial interest to 
the readers of The Etude. 

We often hear from clubs and individuals this ques¬ 
tion: “What do we get out of the Federation?” I 
should like to banish that question from your minds 
during the coming two years, and 1 put in its place, “What 
service can we render to music through the Federation?” 
And I should like to say to the clubs who feel the Fed¬ 
eration is not worth while, “Don’t stand on the outside 
and criticise, but come inside and help.” 

I should like also to give to the first question this 
answer: 

You get from the Federation, if you wish, your course 
of study for Senior, Junior and Juvenile Clubs, also 
song sheets and outlines for various special programs— 


and Help 

exchange of programs with other clubs, and nation-wide 
publicity for your own work. 

You get, if you desire it, information and assistance 
regarding all lines of work mentioned in this letter, and 
many others included in our various committees. ’ But 
greater than this, and of vastly more importance— you 
get an opportunity for service to the- cause of Music, by 
working as a part of the Organization recognized as the 
greatest single factor for the Advancement of Ameri¬ 
can Musical Art. 

You get the inspiration tliat comes from association 
and work with those who are vitally interested in the 
same cause throughout the nation. 

You get the satisfaction that comes from the knowl¬ 
edge of a duty faithfully performed, and the glory of 
having played a definite part in the making of a Musical 
America. 

Is it worth while T 


A Prospectus of National Federation Activities 

D ... . „ B y HeIt » Harrison Mills 

Pubhcrty Director National Federation of Musical Club, 


The national board meeting of the National Federa 

W 0f M MUS1C C ! UbS , Which t00k P' ace recently in St 
Louis, Mo. was largely attended by state and district 

srtEAti ;u!rvir5 

”tn>S S«“S!”w ,he M ~“°“ 

Among the foremost events, the board sent a R„, 
lution to the Conference Committee on Ref t 
Bill of House Ways and Mea^LnL^s J? 
Finance Committee at Washington, asking thaf to 
eliminate the tax on musical instruments i to! f 7 , 
bill. State presidents of the Federation w t 
to wire their congressmen, and clubs are urged to^ 
because * «•«£ 

fr we^s SiC il'T % C °“l 2ta, nSrin' 

of the Federation as weTas of sevTn rb f resenta « ve8 
music organizations at this hearing. ° 64 natlonal 
During the session on American Music Mrs T?it 
May Smith, chairman, two new prizes for H 
compositions were offered: the first a prize 0 f $imn 
given by the Federation for an entirelv n 7 $1 °° 0 
chamber music, the “Lyric Dance D™ Y »T f ° rm ° f 
a musical theme, which, not being asluge afliX- 


taking as a pageant, will be more easily produced by 
the clubs The idea and name originated with Mrs. 
Frances E. Clark, Educational Director 
rhu L° ther ? nzC ° ffered at this meeting was $500 for 
, r mu A s ' c composition, given by Mrs. Frank A. 
T iJ mg ’ Akron - Ohio, former president and Patron. 
bv 1 L C °r, ,OU4now undcr wa >’ alld being directed 
Tune’s v rS Brost, for the four winners of last 
start in T CO,MCSts in voice - violin and piano will 
states on ^ the Cast ' continuc through the middle 
states’ T* WeSt j and back cast through the southern 
next sea7.n l deVeI ° pe that a ‘our will be planned for 
opportunity 1 f °L ° rder that al1 clubs may have the 
are E y r a !°M he f UlCSC youn « *^‘5. The artists 
Enrique p« h Nadworncy ' contralto, Bayonne, N. J-i 

baritone, Evanston 5 n| NCW 7°^ Cit >" Gc<ir « c Smith ’ 

Cleveland, Ohio* ’ 1 S ’’ Her man Rosen, violinist, 

librades S ^ b to! ment ° f 3 “ musi c section” in all smaller 
is being undert a p° Untry L Which have no suc *' department 

general direction of M* ’ n T ' UCh zest hy t,,c clubs ’ unde . r 
appreciation 0 f 17”' Jas j H ' Hirsc h- History and 
t0 be followed , U c . ai ; c tile subjects bandied now, 
even recordl ’ * h ho P ed - by ^cct music and 

its own month! ^ Feder ation will publish 

connecting lint. tv ., et,n ' th ereby establishing a closer 
win be free to th7d^ )s clul>s officcrs ' The bullet ‘ fl 


Molehill M(,unpins 

By A. z. Estebrook 


One of the most annoying teachers t 
man who would persist in taklne- th Ver , bad w as a 
and preaching about them until if InLTa 6St details 
all musmal progress depended on thaf one to!" th ?" gh 
I remember once he spent a quarter of to 7 g a,one - 
lecturing me about the need for - ! esSoft tim e 


Pianist came to 0 

CU. d».„ the The Mow.n, « ‘ g Tj % A ’.Jeth^H the . 


THE ETUDE 


MARCH 1922 


\ 


Are Musicians Born — Not Made? 

By the Noted Critic of the New York Evening Post 

HENRY T. FINCK 




We have all read a thousand times that poets are born, 
not made. Is this true of musicians? Are they born 
or made? 

Let me say right at the start that it is easier to be 
a “poet” of some skill than to be a musician, however 
mediocre. 

Anyone who can write a good letter can learn in a 
short time to express his thoughts in verse; in fact, 
one does not need to use verse and rhyme. Many of 
the most poetic pages in books are in prose. Carlyle 
went so far as to say (I do not recall his exact words) 
that there is no poem that could not have been better still 
if expressed in prose. I am inclined to agree with 1 
him. The poetic thought is the thing! 

When I was a student at Harvard I used to, have 
foolishly violent disputes with George Edward Wood- 
berry (whose collected volumes and essays have recently 
been reprinted in half-a-dozen uniform volumes) as to 
which is the greater art, poetry or music. I remember 
his indignation when I said that poetic rhythms were 
positively childish in their simplicity compared with the 
endlessly varied and complicated rhythms in modern 
music. But every musician knows it is so. Dr. Rie- 
mann, in his Musik-Lexicon, declares “dass die musikal- 
ische Rhythriiik unendlich reicher ist als die poetische.” 
And it is getting more so every year. Any school girl 
can read at sight any poem placed before her; but to 
play at sight a modern composition requires years of 
hard study and practice, and some students never succeed 
in doing it easily. I need not dwell further on this 
aspect of the question. Readers of the Etude know as 
well as I do what an endless amount of labor is required 
to read everything at sight even if one is born with a 
musical talent. 

Caruso and Patti 

Was the late Enrico Caruso a born singer and musician 
or did he make himself one? The answer is “Both.” 

At first no one believed he was a born singer. When 
he began to study, his voice was so thin and brittle that 
his fellow students called it a glass voice; perhaps, 
he said humorously, “because it broke so easily.” His 
first teacher, he related, “was very discouraging. His 
verdict was it would be hopeless to make a singer out 
of me.” 

That teacher was mistaken; but even after Caruso 
had become a singer he was still far from being a 
musician. He knew this as well as anybody, and he 
loved to tell his friends this joke on himself: “When 
I created Feodor in Milan, Verdi asked the names of 
the artists, and when he heard mine he interrupted, 
‘Caruso? They tell me he has a fine voice, but it 
seems to me that his head is not in its place.’” 

It wasn’t, at that time. It was only by dint of hard, 
incessant daily study of technic, interpretation, and im¬ 
personation that he made himself a hiusician and an 
operatic artist whose untimely death the whole world 
mourned. 

A friend of his, Konrad Bercovici, gives an amusing 
instance of how thoroughly Caruso had learned to con¬ 
trol his facial expression—an all-important art for an 
opera singer. “Caruso’s idea of caricature,” he writes, 
“was frequently displayed when he would tell a tragic 
story with face set for some side-splitting joke, or when 
he would take on a serious and downcast expression to 
tell a very comical story. He was completely the master 
of his facial muscles. That mastery had been won by 
hours and hours of study in front of a mirror, and was 
the most disconcerting thing to his friends.” 

How about another, equally popular, opera singer 
known to all the world: Adelina Patti? Was she a 
born musician, or did she make herself one? 

She, unlike Caruso, had a luscious voice from the 
very start. She was one of the favored few to whom 
singing came as naturally as swimming does to a fish, 
flying to a bird. She inherited her voice from her 
mother, who was an admired prima donna and her 
father, who had an agreeable tenor voice. “As a child,” 
to cite her own words, “I was already possessed by a 
frantic love of music and the theatre . . . Only seven 
years old, I was asked to appear as a concert singer, 
and I did it with all the joy and naivete of a child. I 
was placed in a concert hall on a table near the piano 
in order that the hearers might be able to see the little 
doll, too, and there was no lack of these or of applause. 
And do you know what I sang? That is the most 


remarkable thing of all; nothing but florid arias, first 
among them Una voce poco fa from the Barber of Se¬ 
ville, with the same embellishments exactly that I use 
today, and other colorature pieces.” 

Surely a girl of seven who could, after only a few 
lessons by her brother-in-law, sing music like that with 
a voice and execution that made those who heard her 
wild with joy, was a born singer. 

She was a born musician, too—up to a certain point. 
For an aria like Una voce poco fa calls for musicianly 
phrasing, a fine ear for pitch and pure tone quality; 
but Patti did not, like Caruso, work hard to make 
herself a greater musician than she was from the start. 
Brain work was not to her taste. A book was seldom 
seen on her table and her friend Arditi relates that he 
could not interest her in even the lightest of all forms 
of intellectual exercise—novel reading. 

No—Patti was a born singer, not a made artist. 
Throughout her long stage career she confined herself 
almost entirely to the kind of operas which do not call 
for brain work. To be sure, she had ambitions for 
more dramatic things. She told her friend Hanslick, 
for instance, that she was “no buffa,” and that she would 
some day give up “Zerlina” in Sfozart’s Don Giovanni 
and make her mark in the dramatic part of “Donna 
Anna.” 

But she never did. Though she tried Carmen, “Valen¬ 
tine” in The Hugenots and “Marguerite” in Faust, 
these are not remembered as among the best imperson¬ 
ations. At seven times seven years she had not made 
herself enough of a dramatic musician to live up to them 
any closer than she was at seven. 

Not that a dramatic singer is necessarily more brainy 
than a colorature warbler. But it certainly takes more 
brains and stage art to impersonate successfully the 
roles just named than a part likt that of the heroine of 
La Sonnambula who, in the words of Carlyle, has 
“nothing but mere nonsense to act or sing.” 

Now let us see whether the Swedish Nightingale was 
a born or a made singer. 

Jenny Lind and Geraldine Farrar 

A cat was responsible for the early. discovery of 
Jenny Lind’s voice. When she was a little girl she had 
a pet, with a blue ribbon round its* neck, to which she 
used to sing sometimes in a window looking out on' 
a much frequented street in Stockholm. One day the 
maid of a famous dancer heard her and reported her 
“find;” and thus it came about that she was taken in 
hand and trained for a musical career. 

She was at that time, as she herself later wrote to the 
editor of a biographic dictionary, “a small, ugly, broad¬ 
nosed, shy, awkward, altogether undergrown girl;” but 
she sang so beautifully that the Swedish government paid 
the costs of her musical education, on the condition, 
that she should in time give her services to the national 

She was only ten when she first sang in public. Then 
for ten more years she worked hard—so hard thaf she 
wrecked the beautiful voice with which she had been 
born. In consternation she went to Paris to seek the 
aid of the most famous of teachers, Manuel Garcia. His 
answer was crushing: “It would be useless to teach you, 
Miss. You have no voice left.” 

It was then that Jenny Lind made herself a great 
singer and a good musician,—at first, with the aid of 
Garcia. He made her promise not to sing a tone for 
six weeks. Then he taught her how not to use her voice 
incorrectly—it was that, and not overwork, that had in¬ 
jured it. She had to start all over again from the very 
beginning, singing scales up and down very slowly and 
learning how to breathe correctly. 

It took her ten months to recovet her voice under 
Garcia’s guidance; but that was only the beginning. 
To her teacher she was eternally grateful. And yet, 
she could say truthfully in later years: “As to the great¬ 
er part of what I can do in my art, I have myself ac¬ 
quired, by incredible work. 

Mme. Birch-Pfeiffer relates that one day she left 
Jenny Lind practicing the word sersplittre, occurring in 
an air from the Freischiits; and when she returned, 
several hours later, she found her still wrestling with 
that “jaw-breaker.” 


Casting back a glance at her career, we see three im¬ 
portant things: She was born with a fine voice, but it 
took a good teacher and a great deal of hard work to 
make the Jenny Lind of immortal fame. 

Mendelssohn summed up the secret of her success in 
three words : “Talent, study, enthusiasm.” 

Talent, study and enthusiasm have also been the secret 
of Geraldine Farrar’s success although she had, in ad¬ 
dition, great personal beauty and greater skill in acting 
than Lind. 

Enthusiasm! I remember the time when Geraldine (we 
have called each other by our first names ever since 1907) 
was so completely absorbed in her work, so enthusiastic 
over her operatic parts, that she couldn’t, or wouldn’t, 
talk about anything else. With all her exceptional in¬ 
telligence and conversational brilliancy, it made her, at 
times, almost boresome; but it was the right thing. I 
don’t believe she ever dreamed about anything except 
her operatic impersonations. 

Compare this with the attitude of the average girl 
student who, after memorizing a few operatic airs like 
a parrot, goes to New York, to a fashionable coach who, 
she expects, will launch her on the Metropolitan stage 
in a few months. Of the complete, absolute absorption 
and concentration essential to success these students 
evidently haven’t the faintest conception. 

Geraldine Farrar was born for the stage. Her 
favorite amusement as a child was to “play opera singer.” 
At seven she got her first piano lessons. At fourteen 
the Boston Times spoke of her as “a young girl who 
has a phenomenal voice and gives promise of being a 
great singer.” A few years later she was enrapturing the 
usually coldly critical public of Berlin with her personal 
beauty, the loveliness of her voice with the morning 
dew still on it, and the rare charm of her acting. Here 
was an artist who could both sing and act such parts 
as Zerlina, Marguerite, Juliet, Mignon, Elizabeth, Cheru- 
bino, Manon, Violetta, while she was still appropriately 
young and beautiful. Youth and beauty, to be sure, 
are less important on the stage than good singing and 
acting; but when all four are present, who could fail 
to be enraptured ? 

There was consternation in Berlin when it .was an¬ 
nounced that this American beauty had been engaged 
by the Metropolitan Opera House, where she was soon 
getting a thousand dollars and more for each appearance. 

Many young women would have had their heads 
turned by such brilliant successes and rested on their 
laurels. Not so Geraldine Farrar. Like Jenny Lind, 
she was impelled by every triumph to do her utmost 
to deserve another and still greater. Every time she went 
to Europe she renewed her lessons with Lilli Lehmann, 
feeling more proud of her praise than that of the news¬ 
papers. She showed me one day a letter Mme. Lehmann 
sent her after seeing her as Elizabeth in Wagner’s Tann- 
hduser. In this Mme. Lehmann said among other things: 
“I must tell you once more that it was an extremely 
beautiful and good thing, and that you will not, perhaps, 
succeed again in making it so infantine, demure, and 
saintly, even with this slight impulse to live and love. 
It was very beautiful and just as I wanted the role done. 
We have worked together for a good purpose.” 

Infant Prodigies and Composers 

With all her inborn advantages and good schooling, 
Geraldine Farrar is nevertheless mostly self-made. Every 
familiar part is entirely made over by her, and every 
new part she assumes gets her undivided attention for 
months. 

Like another great American operatic artist, Lillian 
Nordica, Geraldine Farrar might say: “Plenty have 
natural voices equal to mine, plenty have talent equal 
to mine, but I have worked.” 

Nordica, also, was a born and made musician; and so 
was Emma Eames. 

It does not follow that because great musicians are 
invariably both born and teacher-made or self-made, all 
those who are born with special musical talent become 
great musicians. How far this is from being true is 
shown by the general belief that infant prodigies rare¬ 
ly keep their promise; and there is a good deal in this 
belief. There are conspicuous exceptions; among them 
Josef Hofmann and Franz Liszt. 


. 








































Page 168 MARCH 1922 

Liszt was such a wonder in his childhood that it seems 
absurd to suppose that he had to make himself a pianist- 
but remember what he did. In Paris, after he had 
astonished the musical world with his pianistic achieve¬ 
ments, he disappeared, shut himself up in his studio and 
for many months worked incessantly and indefatigably 
to make himself the Paganini of the pianoforte. He 
was born a good pianist but he made himself the great¬ 
est of them all. 

‘‘Most of the great composers,” I wrote in Wagner 
and his H arks, “have manifested their special talent 
at so early an age that they may be classed as musical 
prodigies. Wagner, by his own confession, was not a 
prodigy; and when his operas began to make their way 
m the world, in spite of the unprecedented opposition of 
critics and other phihstines, his opponents frequently 
brought forward this fact to prove that he could not be 
considered a genius. 

“They forget that most prodigies are doomed to 
early oblivion; that Beethoven found his first music 
lessons as irksome as Wagner did, and even shed tears 
over them; and that Weber, in his eighth year, was ac¬ 
costed by his teacher in almost the same words that 
Wagners teacher used: ‘Karl, y OU may become any¬ 
thing else m the world, but a musician you will never 

of wLn '• hard ’ y W ° rth While t0 take the argument 
of Wagners opponents seriously. Modern science has 
shown that the higher an organism, the longer it re¬ 
quires to reach maturity; as we see, for example, by 
comparing man with lower animals. The fact that 
Wagners genius matured slowly might therefore be 
otherwise! “ “ PreSUmption in his f avor, rather than 

Why Wagner did not a st°™h 

the natives by h.s feats as a wonder child is that his 
mental powers were not focused into one gift or talent 
2:,!fn j case of most musicians, but that he was, in 
fath«T° d 3S m manhood ’ m any- g ifted, like his step- 
I think I have said enough now to prove that genuine 

iSr.Ts," “ r be d,her b ° ,n ° r “*• »»■ 


The Secret of Holding the Child’s 
Interest in Junior Club Work 

By Anna Heuermann Hamilton 
Founder of the Junior Club Movement gives results of 
Practical Experience 

Anna Heuermann HamiP 

^Tchicago'T'she began her 
professional career lHI 
teaching piano and har¬ 
mony at Hamilton. College, 
Lexington, Kentucky. Then 
followed a number of years 
as Director of Music at 
William Woods College, 
Fulton, Missouri; at Christ¬ 
ian College, Columbia, Mis¬ 
souri; and again at William 
Woods. 

Mrs. Hamilton has al¬ 
ways held the opinion that 
if music is to become. a 
pari of one’s real existence, 

as one’s mother tongue. As 
the result of this convic¬ 
tion she wrote a Mothers’ 
System for teaching piano 
to little tots before school 
followed other works. 

“"L so " K came to the conclusion that the Junior Club 
was the best means not only of helping the young musician 
find himself,” but also of teaching the many things 
essary in a rounded musical education, for which there 
"1‘ ,n the P^no lesson. Since 1S96 she has anil 
Jnlfni,, 00n f, uct, ' d Junior Clubs. Then came the vi 





necessary 

" — ' the piani 

ducted Junior C'lu/is. Then came the vision 
oj placing the broadening influence of the Junior Club 
within reach of every student of music in the Nation. 
After consulting Mrs. Qchsncr, then President of the Nation- 
a \ Federation of Musical Clubs, and Mrs. Campbell, Editor 
of • The Monitor," Mrs. Hamilton took charge of "The 
Children’s Constructive Page” in "The Monitor” and laid 
the foundation for the Junior Department in the National 
Federation, When the Missouri Federation was organized, 
the Junior Department was included at once, and Mrs 
m charge. The National Federation 
. ” ’ the Juniors, but the 


Hamilton \ 


Their Hobbies 

By M. A. Hackney 

It has been said, probably with much truth, that even- 
person should have some “hobby” or outside interest, 
congenial to his own peculiar tastes, to refresh himself 
with variety from his ordinary occupation. 

Nearly every famous musician has had at least one, 
and it is interesting to observe what a wide diversity of 
tastes they show among those whose chief employments 
are very much of the same sort. 

Beethoven: long walks in the country 

Bach: reading religious books. 

Mozart: billiards. 

Mendelssohn: water-color sketching. 

Chopin: society. 

Pagannini: gambling. 

Brahms: long walks in the woods; swimming. 

Verdi:. farming; relief of needy old musicians. 

Kosstm: fish-ponds; good cooking. 

Paderewski: billiards; politics. 

C ° ru ™ : dewing caricatures; clay modelling. 

MacDowell: painting, photography, poetry 
: Samt-Saens: travel. 

This list might easily be extended. 

Spohr’s Noisy Waistcoat 

nf S /v,° H p, P i aid His firS ‘ visit to Eng]and at th e invitation 
of the Philnarmonic Society, in 1820. Being anxious to 
™ ake r an impression, he put on “a bright turkey-red 
shawl-pattern waistcoat,” and being a very big man, a 
considerable surface of red waistcoat was thereby dis- 
payed ‘ Scarce,y had 1 appeared in the street,” he 
says, than I attracted the general attention of all who 
passed. The grown-up people contented themselves with 
gazing at me with looks of surprise, and then passed on • 
but the young urchins on the street were loud in their re- ' 
marks, which unfortunately I did not understand and 
therefore could not imagine what it was in me that so 
much displeased them. By degrees, however, they formed 
a regular tail behind me, which grew constantly louder in 
speech and more and more unruly. A passer-by addressed 
me, and probably gave me some explanation of its mean¬ 
ing, but as it was in English I derived no benefit from it.” 
Finally reaching a friend’s house he was told that a 
genera mourning had been officially ordered for George 
HI, whose death had recently taken place, and which 
explained the startling effect produced by his “Turkey- 
red expanse of waistcoat in the streets 


Missouri Federation has the honor of bZg the first to 
Juniors i Ia . milto, \ was the first Chairman of 

leaps and bounds Li”*® the m0 J cmeMt hns 

in msZu2ly V TrZt°V V g-- COm ^ ion - n 



The Junior Club has the usual officers, who are elected 
frojn among the children. In addition, it has a Lead P r 
who is an adult. If the club is an adjunct of a teacher’s 
private class, the teacher is the Leader. 

Some teachers who have never attempted class-work 

be held And it can not, so long as that fear remains 
The first requisite for holding the children’s interest is 
the feeling on the part of the Leader that she is absolute 

The Th « SitUati ° n and that She wants to lead 
the club. How to attain that feeling? She must * 

enough time to the preparation of the work to know 
just what she wishes to present and how to present h 
If it is to be a program, it must be arranged beforehand 
and all biographical and explanatory remarks well 
thought out. If it is to be a lesson, it must be Z 
over in mind and considered from every angle. T Je 
self-possession and confidence inspired thereby are woZ 
everything, even though an unforseen circumZ 
should cause the lesson to take an unexpected turn' 
If the planned lesson is departed from, it should be for 
a reason, and not by accident. There is nothin, rt 
club-leadership to inspire self-confidence, if the wZ 
is given the necessary thought. Work 


THE ETUDz 

a help in holding the interest is to announce 
that sounds as if it will be very difficult—and then Z 
how easily it can be done and how interesting it ■ Sho ' v 
a new club 1 always enjoy the gasps of increduli^' In 
the breathless attention that follows the statement 
will now compose a piece.” It is not necessary in , , 
the children at the start how very simple that „• 
will be. Plece 

Perhaps there is a so-called “bad boy” i n the ' 
He fs not bad; he merely needs a little special treatm 
to make him forget his restlessness. Make him marsh i! 
All the good little girls will then need to watch th' 
p's and q's to satisfy his argus eye. neir 

It all depends upon the Leader. The whole matt 
may be summed up in the words; "An interested Lead^ 
means an interested Junior Club.” 

What Shall We Call Our New 
Music Club 

By Herbert Ogletree 

Probably more clubs are named a iter the local'tie 
in which they arc formed than by any other means 
The Auburn Club, the Brockton Mu-a Club, the Nor- 
walk Music Club, the Springfield Music Club, always 
makes an acceptable name. Such nan- . however, lack 
the imaginative and one might as \s. !! apply the name 
of one’s town to the Automobile ( lui,, the Plumbers' 
Club, or the Undertakers' Club. I I - who seek to 
be a little more inventive have contrived many names. 

The writer recently went over a list of several 
thousand clubs with the following result. The clubs 
represented the Federated clubs in thirls two states. By 
far the greater number of clubs were named after their 
localities. Then came the clubs sun d called Music 
Study or Music History clubs. The - were followed 
by clubs which take their name from the day of their 
Meeting. There were seventy-fiv. - tlu-se counted. 
Apparently the most popular Meeting day is Monday, 
there being no less than twenty M-nday Morning 
Musicales. The next in popularity i \\ rdnesday, with 
Friday and Saturday as the least popular. 

Following this is the group taking the names of 
American Composers, there being thiiu-nine of these. 
Of the thirty-nine, thirty-five were Mae Howell Clubs. 
Then we find the clubs named after I-'iu. 'pean Musicians. 
Of the twenty-three listed, Schulxrt |„,,ves the most 
popular name with nine clubs. Twenty clubs were 
named Matinee Musicale, twenty wen named after 
mythological personages. Then come the following: 
Harmony. 19; Saint Cecilia. 18; Treble Clef, 13; Fort¬ 
nightly, 13; Musical Art Club. 12; Philharmonic, 12; 
Women Composers (Chaminade leads i, 12. 

his suffices to show the fashion in club names. It 
seems a little surprising that so many cob rlcss or local 
names are adopted when there are so many very attrac- 
tive names. 7 he Standard History of Music , which has 
been used in thousands of clubs, divides the selection 
o possible club names into four classes: Locality 
Names; Composer Names; Musical Term Names (in 
w ic would be included mythological names). 

«ere are a few suggestions in line with this: 
nuZ Tenus: The Allegro Club; The Andante 
Llub; The Presto Club; The Symphony Club; The 
n ° ian _ L C,u b; The Crescendo Club; The Marcato 
Tbl r He Chromatic Club; The Metronome Club; 
n, k G ^? Ut C,ub: The Sonata Club; The B Natural 
ito The Madrigal Club; The Opera Club. 
Mythological Names and composite mimes: Polymnia; 
polyphonic; Arion; Philharmonic; Apollo; Amphion; 
afoT - tlle m ° St popular name of its class in the 
cZ nU ° nCd liS ‘ ): Athen a; Eurydicc. 

ScbZ°f r ~™ es: Bach ■ Beethoven; Schubert; 
comers Ebopin ’ M °zart ; or any of the modern 

Jr C Z C °" lf,oser * : Mason; Hopkinson; Gott- 
Chadw’irb M D CD I ° Well: Kevin; Lieurance; Cadman; 
Women r arker ’ dc Koven: Sousa and many others- 
Nam P c C . om f osers: Chaminade; Lehmann; Beach, 
make vpr ° f fam ° US si "gers, Pianists and educators 
The y exce ,ent appellations, 
seem t distinct fa shions in club names which 

our country! “ CCrtain Realities. In one part of 
and several ** !' ame Musical Coterie is very poP« ,ar 
The Z Prominent clubs have been given this name, 
the wisest' Hr ad ^' Ce u P° n the subject would be tha 
neyed th ZZ ' S t0 se lect a name that is not hack' 

and is Z - h u aS SOme distinctly musical connotation 
S ’ notw 'thstanding all this, in no way outlandish- 


THE ETUDE 


MARCH 1922 Page 169 


The Gentle Art of Capturing Audiences 


With the development of the music 
club movement in America, came an im¬ 
mense impetus to the giving of concerts 
and recitals in all parts of the United 
States. Each year these active propagan¬ 
dists for the art spend immense sums and 
take great risks in backing local concert 
enterprises. Some enthusiastic women 
lacking the experience of the practical 
manager have lost heavily. The fault is 
rarely that of the artist or the artist’s 
manager, nor is it always due to an ab¬ 
sence of ample local publicity. In most 
instances, it may be attributed to a failure 
to understand the philosophy of audiences. 

Audiences in all parts of the country 
differ immensely. If a group of virtuoso- 
pianists—let us say Paderewski, Hofmann, 
Bauer, Lhevinne, Gabrillowitsch and 
Grainger were to discuss the subject—it 
would probably come out that each one 
had some different city in which he re¬ 
ceived his greatest response from the au¬ 
dience. Even Galli-Curci has been heard 
to say that audiences in many cities are 
distinctly different in their manifestation 
of appreciation. 

Considering the very important part 
which Music Clubs now take in the giv¬ 
ing of concerts, the study of audiences is 
a matter of more than passing interest to 


An Article of Special Interest to Thousands of Club Women Concerned in 
diving Concert Courses 

By FULLERTON L. WALDO 

Musical Editor of the Philadelphia Ledger 


all. 


I 


In a little book upon the organ, Sir John 
Stainer elaborates the theorem that where 
there is no listener there is no music. 
What Thoreau said of the speaking of 
truth, in a passage that Stevenson cherish¬ 
ed, is applicable to music: it takes two to 
make music—a player and a hearer. 

“Earth was not earth till sons of men 
appeared; nor beauty beauty till young 
love was born.” 

The organ may have been mightily 
laboring before a listener came, but until 
the plangent reverberation smote an ear¬ 
drum, there was no music. As there is 
no light until there is perception, so there 
can be no sound until there is a sentiency. 

Since the audience is the other half, and 
sometimes the better half of the. music, 
the critic who would properly evaluate a 
musical performance must heed the audi¬ 
ence as well as the singers or the players. 
An audience is a curious composite—an 
amalgam of differentiated temperaments 
and temperatures whose reactions it is 
hard to explain when one resolves the en¬ 
tity into the constituent parts.- The parts 
are so various and so fortuitously associ¬ 
ated that it is surprising to find them feeling 
and acting as one—communicatively mov¬ 
ed, and even stirred to ecstasy, by a cer¬ 
tain sequence of notes, and again evidently 
irked and bored by iconoclastic rhythms 
and cryptic, progressions and resolutions, 
as even Boston was irked and bored when 
the symphonies of Brahms were played 
for the first time. 

Typical Audiences 

Consider the typical audience for a 
concert of an orchestra. (The audience 
for an opera in its divided allegiance is 
only half-heartedly and secondarily musi¬ 
cal ; there is a great gulf fixed between the 
high-brows of the orchestral clientele and 
the low-necks'of the operatic constituency.) 
The upper gallery for such a concert is 
likely to be filled with those who have 
stood patiently for hours till a ruthless 
window at a box-office shot upward sud¬ 
denly, and a harsh, impersonal voice de¬ 
clared itself ready for business. The ap¬ 
plicants for the “rush seats” are the truest 
and most devoted of all “music-lovers”; 
they form a double or a triple queue that 
reaches half-way round the block; they 
huddle in the angles of archways and sit 
on the steps with lunch-boxes on their 
knees, in all weathers, dreaming of the 


hour to come, that “crowded hour of glo¬ 
rious life,” when clattering into the steep- 
pitched gallery only a little lower than the 
chandelier, shading their eyes with their 
programs, they are to look down on the 
terraced instrumentalists, the late-arriving, 
limousine-owning, lorgnette-observing oc¬ 
cupants of the parquet. They would not 
change their heaven—hot as it is close un¬ 
der the ceiling, and hard as are the bench- 
es—for the seats of the plutocrats below. 
They are the true musicians, and they 
know. There are violinists to take the 
measure of a violinist; pianists to essay 
the art of the pianist, to know if it 1?e 
pinchbeck or pure gold; singers who come 
to behold the rules exemplified or master¬ 
fully bent and even broken by a genius. 
And some there are who can make no 
music, and merely attend because they 
care for it, and find life’s common way 
illumined by its light celestial for many 
days after a concert long awaited. 

Some in the audience are sophisticated 
in a high degree, and as a chess-player re¬ 
calls what move a master made in a classic 
tournament, or an expert mountaineer 
knows by just what crack a predecessor 
scaled a baffling peak, they remember 
what finger Liszt or Rubinstein used at a 
famous crux in a score, and they are 
watching for any heretical deviation. 
Others in the audience care nothing for 
technique, and have come for an inspira¬ 
tion solely. They do not ask to know how 
the sound that finds and stirs them at the 
core of being is produced; they seek the 
effect alone; they come neither to be in¬ 
structed nor amazed but to be lifted out 
of the ruck of the world they know too 
well and see too much, to a sphere of 
rest and peace where the soul abides in 
profound tranquility. There is a fine de¬ 
scription in Thackeray’s “Newcomes” of 
the way in which even a tinpanny piano in 
a boarding-house made a new heaven and 
a new earth for one who listened. It is 
a common experience to carry to a place 
where music is performed a heart heavy- 
laden, and to have the burden lightened or 
utterly lifted. The business man has told 
us that he thinks clearly of his problems 
and arrives at their solution, when a sym¬ 
phony has swept the cobwebs from his 
brain and clarified his mental processes. 
The weary housewife finds a cool hand of 
solace laid on the fitful fever of importu¬ 
nate routine. A concert of music, like the 
porter in “Macbeth,” would let in all pro¬ 
fessions. 

I look down from a gallery seat and I 
behold the hairless pate of a Federal judge, 
and beside him a dressmaker; and near 
at hand are girls from a seminary. Their 
attendance is part of a liberal education, 
and it goes on the bill for the semes¬ 
ter as an extra along with the charge for 
laboratory supplies and broken windows, 
and car fares, and the laundry list, and the 
chaperone’s services. Here, chin in palm, 
sits a professional musician, eager for 
points of critical comparison; and here is 
an amateur with owlish reading-glasses, 
score in hand, and a forefinger hot on 
the trail of the measures. So many an¬ 
gles of approach, so many points of new 
and such divergent opinions! Yet when 
the music closes, for those who are mind¬ 
ed to make a demonstration, the crude, 
uncouth expression is the same—a patter 
or a shower or a roaring inundation of ap¬ 


plause, a beating of the hands together— 
most curious, inept expression of response 
to musical sounds. Some of us. may feel 
that what we have heard has gone too 
deep for any manifestation that merely 
brings the hands together repeatedly in 
percussive token of aroused emotion. We 
therefore are silent, an isle of inanition in 
a sea of turbulence. We are not apathetic, 
but the mob’s noisy way of manifesting its 
approval is not for us. We are too great¬ 
ly moved for any such petty outward show 
of feeling. Let the others make what up¬ 
roar they will, their way is not as our 
way. 

How Audiences React 

But the artist is accustomed to tell by 
an instant noise of plaudits whether the 
audience reacts to what he has done; and 
he gauges his success by the duration and 
the violence of the noise. So slightly are 
we “changed from the semi-apes who 
ranged India’s prehistoric clay” that a 
manual racket instead of a silent mental 
reaction is the accepted indication of our 
feeling. It is a queer thing, this applause, 
but it is all we have been able to contrive 
as a means of telling the musician we ap¬ 
prove. By the time the millennium arrives, 
no doubt mankind will manage better. 

II 

Mr. George Arliss said to me the other 
day, “I never have been able to discover 
Why it is that some evenings an audience 
is with me from the start, and some eve¬ 
nings—when I am playing in the same 
place and (as I believe) in the same way 
—the atmosphere is wholly different and, 
no matter how hard I work, I cannot feel 
that I have my audience with me.” What 
Mr. Arliss confesses of himself as an ac¬ 
tor is the common experience of the musi¬ 
cian. A conductor of a symphony orches¬ 
tra lavishes thought and toil to prepare his 
season’s series of concerts, and each of his 
programs is the best he can devise; hut to 
the arrangements he most fancied his loy¬ 
al devotees are sometimes cold, and what 
he liked the least they may acclaim as his 
happiest inspirations. If he would keep 
the integrity of his artist soul, he dares 
not truckle and pander. He must be will¬ 
ing, in “the loneliness of wings” and as 
one “voyaging through strange seas of 
thought alone” to hail and proclaim new 
merit in the sacred name of progress, in¬ 
stead of clinging safely to the old, familiar 
landmarks of established favorites. Hence 
we find a conductor, young, enthusiastic, 
pushful—called to order by the critics and 
upbraided by his admirers for what Cot¬ 
ton Mather would style “exorbitancies,” 
on the part of Schoenberg, Stravinsky, 
Scriabin, or Cyril Scott. The concert- 
goer who knows what he likes and does 
not pretend to scientific knowledge writes 
to the newspapers and demands to know 
why. The stock-holders are petulant. 
The business manager’s • wife bemoans 
more grey hairs and new wrinkles for 
her husband, who is the buffer betwixt the 
clamorous public and the conductor, with 
his artist-soul, and the players, with their 
status as virtuosi which they never forget 
and never permit to be forgotten. 

The audience is a cormorant, and will 
take from its favorites as much as they 
will concede. The insatiable man of the 
populace is rarely satisfied with a reason¬ 
able number of encores. He does not 


imagine that after two hours of perform¬ 
ing the player or singer is tired. I re¬ 
member a “recital” (horrible word) of 
Gabrilowitsch, when that generous and 
amiable artist after playing most of the 
afternoon gave eight encores at least. The 
concert had to be concluded with the 
strong-arm aid of the janitor, who strode 
on the stage wearing his hat, and put down 
the lid of the piano with a gesture of 
fierce finality. In the. dressing-room I 
found a dilettante painter, who in token 
of grateful appreciation had brought the 
pianist about a score of the werst water- 
colors imaginable. Gabrilowitsch was 
peering over his wilted Gladstonian collar 
at the pictures, among which he had been 
told to make his choice. He spent as long 
a time in his decision as though among 
the wretched daubs it made a difference. 
Finally he took the least offensive, and the 
gratified painter withdrew. “After two 
and a half hours of such playing,” I said, 
“I should think you’d be so weary you’d 
want to crawl in a hole, and pull it in after 
you, and not admit unutterable bores to 
your dressing-room.” “On the contrary,” 
said this most affable of artists, “I make 
it my practice to dismiss the concert from 
my mind when it is ended. An artist must 
keep his platform emotions and reactions 
under control in a separate, air-tight com¬ 
partment. Otherwise his life would be 
insupportable. It may sound very mater¬ 
ialistic to say so, but when the lid is clos¬ 
ed I go off and forget the piano.” 

When Elman was a meteoric newcomer, 

I saw Max Fielder wait while an audience 
made a determined effort to break down 
the sacrosanct tradition that the Boston 
Symphony Orchestra gives no encores. 
Fifteen times the young violinist was re¬ 
called, and a hysterical gallery persisted 
in sporadic outbursts of clapping long 
after Mr. Fielder had mounted the dais 
and raised his baton as a signal for the 
orchestra to resume. The sympathy of 
the right-minded majority of the audience 
was all with the conductor. Mr. Fielder, 

I learned afterwards, was on the point of 
abandoning the rest of the program and 
withdrawing the musicians, but he had 
held his ground with an impassive out¬ 
ward semblance that gave no hint of his 
feelings. 

The ascendency of Kreisler over an au-' 
dience is not difficult to comprehend; yet, 
in his home city of Vienna he is indif¬ 
ferently .received. A virile, unaffected 
personality is behind this man’s art; like 
the singing of Schumann-Heink or Louise 
Homer or Margaret Matzenauer his music 
comes from a profound experience of life. 

• What is the lure of the regnant popular 
sensation of the violin, the youthful Jascha 
Heifetz ? He is as cold as marble to his 
audience. He never smiles; he never un¬ 
bends ; he goes through all the giddy 
paces of the fingerboard like an automa¬ 
ton. Austere to the point of inhumanity, 
this young man nevertheless draws crowds 
and fires them to immense enthusiasms. 
That is because his art is sui generis; it 
is a marvel of accuracy, and it is a tri¬ 
umph of the human wit and will over the 
stubborn resistance of inanimate things. 
As Edison has mastered Nature and made 
her tell him secrets, Heifetz has com¬ 
pelled the most difficult of instruments to 
become the submissive servant of his hand 
and mind. 

The leader of a famous orchestra ac¬ 
quires a following as fanatical as any fac¬ 
tion that ever upheld a prima donna and 
decried her rival. Witness the strife of 
tongues and partisans for Damrosch and 
for Stransky in New York; witness the 
rise of Stokowski; the martyrdom of 
Mahler; the national concern in the whole 

(Continued on page 202.) 






































Page 170 MARCH 1922 



Then and Now 

By WILLIAM SHAKESPEARE 


Part of a Series of genial retrospects 
by well known musicians. 
Several others will appear 
later from time 
to time 



MR. SHAKESPEARE 
AT THE AGE OF TWENTY-FIVE 


MR. SHAKESPEARE 
AS HE IS TO-DAY 


My father was quite unusual and never happier than 
when trilling out a song. This he would do with sympa¬ 
thetic expression as he had a good tenor voice My 
mother was always, with her dear fingers on our old 
square piano, picking out her favorite hymns which she 
harmonized by ear. 

} sa T n £ in the ch urch choir and played the harmonium 
when I was ten. In 1860 I was promoted, in my eleventh 
year, to the position of Organist of a small pipe organ, 
and received instruction from William Henry Monk 
editor of Hymns Ancient and Modern. 

My practice was always a bother; I remember one 
day the dear man reproved me, and laying his hand on 
my head chided me so sympathetically that I burst into 
tears and soon made up for lost time. To be a school¬ 
master and play the organ was my only ambition, until 
my chief laughed at me and said, “William, you will 
never do for a schoolmaster, music is your future.” 

This worldly man’s name was Studdy; but I said I 
could not find time to practice even half an hour. He 
said I must compose him a set of quadrilles and gave me 
a book, Smiles. Self Help. In it I read of Palmy the 
Potter, and learned how the great men persevered day 
and night, and this had the effect that I began to practice 
five, six, and even more, hours a day until the neighbor¬ 
hood knocked at the wall and stopped me. 

At thirteen I felt that I must go to London and study 
composition under Molique, a friend of Mendelssohn 
My playing improved so under Dr. Wylde that I had to 
play at a concert of the London Academy of Music, 
when I was fifteen. Dr. Wylde was very severe and told 
me, “Look here, if you hurry the time like that this 
evening I will come and knock you off the stool.” So I 
practiced all afternoon with a metronome. 

The day I was to take my pianoforte fugue to my 
old master Molique, I found to my sorrow that he was 
ill, thus he never heard that in which he had taken such 
interest; in 1866, however, I had the privilege of playing 
, it to Sterndale Bennett who, on hearing it, amazed me by 
saying, “Thank you, Mr. Shakespeare, I enjoyed it 
very much.” 


By the advice of this master I competed for and won 
the King’s Scholarship, and so studied for three years at 
the Royal Academy of Music. In 1871, I won the 
Mendelssohn Scholarship for composition and piano 
playing, and was sent to Leipzig where I played with 
the orchestra my Piano Concerto and conducted a Sym¬ 
phony I had written. 

In Leipzig opinions on my voice were so encouraging 
that I was sent to Francesco Lamperti, at Milan, and 
my fellow students were Campanari, Albani and others. 
After three years I returned to England and sang first 
at one of the Philharmonic Concerts, much encouraged 
by my friend Madame Jenny Lind. Engagements came 
in rapidly. I remember receiving a call one night: 
“Come to Glasgow tomorrow and sing Costa’s Oratorio 
‘Eli’.” I rushed out and got the copy and studied it on 
the ten hours journey, as well as I could with the other 
people surrounding, and rushing to the concert room, I 
expressed my anxieties to the composer for having 
to read his work at sight. He encouraged me with the 
remark, “It will go well if you look at my beat.” For¬ 
tunately my great scene with the chorus Philistines was 
redemanded and we had to sing it all over again. 

Next day on arriving in London a telegram was 
waiting. “Come at once to the Alexandria Palace and 
sing Handel’s Oratorio, Susanna: Rigby the tenor is ill.” 

I bought a copy, on the way and just arrived in time for 
the first duet. 

As the time went on I wrote my Art of Singing and 
had the honor of assisting in the making of several 
•distinguished singers; also of visiting the States four 
times where it has been my joy, on the last occasion, to 
remain upwards of five years. 

Pupils have been very kind to me, but on one occasion 
I had the misfortune to peeve a lady and she answered 
I thought hastily and rudely, “What am I to do here?”’ 

I replied, a little peeved myself with her manners, “Why 
take breath, of course, breath is cheap.” “Not in this 
room,” she replied. We then made it up and became 
great friends. 

—London, 1921. 


Departments Omitted from this Special Club Issue 

We hope that among the great number of enthusiastic music club members 
who may have their particular attention drawn to Etude Music Magazine, for 
the first time, there may be many who will realize the nature of the service 
which The Etude through this number has been rendering for nearly forty years 
lo these new friends and to our old friends, we desire to explain that 
because of the large amount of Music Club material in this special issue we 
have omitted the following usual departments. 

The Teachers’ Round Table 
The Singer’s Etude 
The Organist’s Etude 
The Violinist’s Etude 
The Master Operas 

Little Lessons from a Master’s Workshop (a serial) 

The Musical Scrap Book, etc. 

ano T , heS j T al r ble de P. artments 6™™] o' which we aim to make like highly 
specialized little magazines, complete in themselves) S 7 

WILL ALL BE RESUMED IN THE NEXT ISSUE 


THE 


etude 


Ideals for Music Clubs 

(Continued from page 15j.) 


C. M. Tremaine 

Director National Bureau for the Advancement 
of Music 


To furnish musical enjoyment to its members, either 
through their own participation or otherwise, and to ex- 
_i itifliipnrp nf music in the communitv 


Mabel Wagnalls 

Pianist and Author 

To teach the up-building joy of great music, and the 
primal necessity of every one acquiring an early familiar, 
ity with the classics. 

Marian Van Wagenen 

President New Jersey Federation 
To give .aid to music work in the public schools, 
settlement schools, local symphony orchestras and all 
varied musical activities including assisting >1 mg artists. 


Mrs. Worcester R. Warner 

Head of Audit Department, National 1 ( deration 
of Music Clubs 

With full knowledge of the best of ail lands and 
times, to provide increasing opportunity tV American 
music and musicians. 


Charles E. Watt 

Editor of Music Nat's 
Music in America will grow to equal iiortions 
with our other developments only through complete 
Americanisation. Therefore, the best pos-ablc subject 
for the attention of Music Clubs is the iting oi 
the use of English texts in song recital ami Opera as 
well as of American compositions in genera!, ior only 
by this means will we reach complete Atncric ciization. 


Reinald Werrenrath 

Noted Baritone 

A constant effort to educate the American people to 
a keener appreciation of good music of whan i nation¬ 
ality or form. 


Julia E. Williams 

President New Jersey Federation of Mm Clubs 
Music Clubs can have no greater purp<» < than to 
organize dubs for children, and train them n. Make 
America Musical. 


Owen Wister 

Writer and Publicist 

The adequate teaching of music, both on its nterpre- 
i T. 3 ,.. creat ' ve s * des - Let the musical clubs discover, 
y e igent investigation, which music departments 
our great colleges to support, and which conservatories 
teachers Va Ti >US ? rCat , C ' tles unite *he best groups of 
that the V’ 6 " et r t lCm endow these in such a way 
An anCS °! tfle Professors may be increased, 

for the^lam ' Vage , for tlle teacher and adequate upkeep 
vital need ‘ hc R C L ' has caused to be the 


Fannie Bloomfield-Zeisler 

Eminent Virtuoso Pianist 

Congres C s re of° n a a " d t mail ' tc "ance by the United States 
°f the Paris Com e “re Sch ° 01 °" thc P,a " 


OM W f henCe Come the Fo,k Songs? 

•s credited 'wltpH'" 1 ™ brothers who wr °te the fairy tale 
song SSoTiffi? £* ** f °' k s °n«s- 'The foil 
as prolific a writer as «P V* ‘l. Ue even in ,he caSe 0 
men who wrote Ste Phen Foster, one of the fev 

They came so ea ■!' S °"? s whose name is remembered 
upon them. S ' y l ° ” m that h e placed little valut 

tell who wrote^TaT 110 the fo,k SOng ' C “ n 3 ’°' 
“Sally in Our AHev V’ "’tu ^ t0 °' d Vi rginny" °' 
folk songs are y ' • Theodore Storm says: “Th 
taneously and drift 3t a11 ' They appear spoil 

They appear to be lt0Ut - the air like the K ossarnel 
They are the mu U ? g m man y places simultaneous!: 
They sleep i n t i lp 1 ’ r ™ cval ton es of Mother Naturi 
them.” est ' Only God knows who waken 


nrSJHVDM . . T 3CARCH 192? m 

WE SHALL NEVER PART AGAIN 

Originally written as a song, this number makes an equally satisfactory drawing-room piece. It is also published in other instrumental arrangements. Gr<tde3. 

WALTER ROLFE 

Andante moderate m.m.J=72 , 4 



&SmalL hands may omit the upper grace notes. 
Copyright 1922by Theo.Presser Co. 


A—- 5 
British Copyright secured 




































































































































































































































































MARCHING TO PEACE 

J- L. HOECKEL 

A fine example of the grand march, especially suitable for indoor functions, exhibitions and the like. Play rather heavily and in slow time. Grade 4 






ZOLTAN DE HORVATH 













































































































































































































































































































































































Page 174 MARCH 1922 


An interesting descriptive piece, 
rate and decisive stroke. Grade 4. 


THOSE DISTANT CHIMES 

TOE LITTLE CHURCH IN THE VALLEY 

rvipstial strains of mui 


THE ETn lm 


Celestial strains of music fall 
And bring a restful calmtoail; 
Andperfect peace upon the soul, 
Of which the mind has no control. 


Those distant chimes we love to hear, 

How sweet they fall upon the ear! 

They speak and cheer the troubled heart, 0 f which the mmcinas . 

And hid dread thoughts and grief depart. 

The “chime effects“are best attainedby holding down the damper pedal throughout and attacking each chord withasepa- 



THE ETUDE 


MARCH 1922 Rage 175 

Mar cat o a 5 = ^T' 

(Melody di Tided between hands)#- 



Editedby T. P. --—-- --- .. . 

In general the execution of thispiece is tohe expressive, rather than precise; graceful and pleasing rather than too accurate. Its characteristic is the 

Tyrolean Yodel. Grade 2 5. R I. TSCHAIKOWSKY 

Moderatoassai 3 333 2 1 ^1® ® L- 





































































































































































































































































































































































































THE 



Page 176 


SEE THE CONQU’RING HERO COMES 

Chorus from “JUDAS MACCABEUS” 


vrri/jg 


As transcribed by'Moszkowski this fine old ^ Arr. by M. MOSZKOWSKl 




THE ETUDE 


MARCH 1922 


Pag* 177 


SEE THE CONQU’RING HERO COMES 











































































































































































































































































































































































































































MARCH 1922 


THE ETUDE 



LL 


Page 178 


A SONG OF INDIA 


Arr. by Louis Oesterle CHANSON INDOUE 

A new and most effective piano solo arrangement of this very popular number. Grade 4. N. RIMSK Y-RORSAKOW 





**■ 


the etude 


MARCH 1922 Page 179 

espressivo 



A MERRY DINNER PARTY CARL WILHELM KERN, 

A waltz in “running style’,’ to be played slightly faster than a waltz intended for dancing. Grade 3. _ °P- 4o2 

Tempo di Yalse m.m.J- = 68 ^__ 






2 3 4 

t I 1 






a. dim. 



T | l 

3A 

DC. 




■ - t 

i 1 1 






5 



1 '* * 

5 



Copyright 1922 by Theo. Presser Co. 


British Copyright secured 






















































































































































































































































































































































































THE ETUDE 


Page 180 MARCH 1922 


TIPPERARY BLARNEY 






the etude 


MARCH 1922 Page 181 


CT~Tic Hrambach Baby Gratia 



Master^School 

ModemPiano Playing ^Virtuosity 
ALBERTO JONAS 

With the collaboration of The Greatest Living Pjawsts 



For the First Time in the History of Music 

MASTER SCHOOL 

OF 

Modern Piano Playing 
and Virtuosity 

by ALBERTO JONAS 

For the past three years we have been preparing for publication the greatest, most 

comprehensive and thorough P e dagogics C p V ANT)^IRTUOSITY 

The MASTER SCHOOL OF MODERN PIANO PLAYING AND VIRTUOSI 1V 
by Alberto Jonas embraces all the technical and esthetic elements required for the highest 
pfanistlc virtuosity. It contains many new, as yet unpublished effective features. It also gives 
excerpts from all the best pedagogical works extant and approximately one thousand ex¬ 
amples, instructively annotated, taken from the entire classic and modern piano literature. 

But what makes the MASTER SCHOOL OF MODERN PIANO 
PLAYING AND VIRTUOSITY without precedence in the history 
of music is that practically all the great piano virtuosos have 
collaborated. All have contributed numerous original exercises, 
expressly written for this work. 

A FEW ENDORSEMENTS 

and most valuable work that ever existed" Josef Lheainne 


lerlined by Lhevinne) 

t monumental work ever w 
Tensely valuable work has s 


(Meis 


“This is the greatest and most beautiful work on 
“Without doubt the mostmonumental ettortcU 


Moriz Rosenthal 
Teresa Carreho 

ve ever seen" Ignaz Friedman 

r Harold Bauer 

fork” Fannie Bloomfield-Zeisler 

FIRST PART 

Consisting of two artistically engraved and handsomely bound books-Price $10.00 
SPECIAL INTRODUCTORY PRICE UNTIL APRIL 15th, $8.00 
WRITE FOR SPECIAL DESCRIPTIVE CIRCULAR 


CARL FISCHER, Cooper Square, New York 3 80-382 B oylston^Boston^^430- 432 S. Wabash, Chicago^ 


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Page 182 MARCH 1922 


(£ 7 * 


THE ETUDE 


e NEW 


‘The Qreat<_Artists of Today -Who They Jire 




the etude 


MARCH 1922 . Page 188 


HALL OF FAME 

of concert and operatic artists 

as acclaimed by American and European critics 


T HE pages of musical history are con¬ 
stantly turning these days. Youth is 
supplanting age. The concert and oper¬ 
atic stages are embarked upon a new era. 

Chamlee, Danise, Easton, Pattiera, Hub- 
erman. Dux, Godowsky, Strauss, Elly 
Ney, Rosen—these are names coming 
now from the pens of world-critics, both 
in Europe and America. 

To know them is to know the artists 
of the moment; to be musically well- 
informed. 

All Exclusively Brunswic\! 
Without exception these artists, in 
common with the present-day trend of 
artistic acceptance, have chosen Bruns¬ 
wick as the most fitting means to perpet¬ 
uate their art—a tendency so marked 
in musical circles that Brunswick now 
is looked to for the premier recordings 
of the great artists of the day. 

Exclusive Methods the Reason 
By means of exclusive methods of Inter¬ 
pretation and Reproduction, Brunswick 


brings phonographic music into the 
realm of higher musical expression. 
“Mechanical” suggestion—discord and 
vibration are refreshingly absent. Tones 
are sweeter and more beautiful. Expres¬ 
sion is clearer. The true musical expres¬ 
sion both of the artists and their art is 
reproduced in amazing fidelity. 

For that reason, greatest living artists are 
now recording exclusively for Bruns¬ 
wick. And for the same reason, you will 
find Brunswick in the homes of foremost 
musicians, critics and educators, in this 
country and abroad. 

Hear—Compare 

Hear the Brunswick, phonographs and 
records. You will find them featured, as 
the Standard of the Day, by those shops 
devoted to that which is best in music, 
in every city and town. 

There is a Brunswick dealer near you, who 
will gladly give you a demonstration. 
The Brunswick plays all makes of rec¬ 
ords, and Brunswick records can be 
played on any phonograph. 


THE BRUNSWICK -BALKE-COLLENDER CO. 

Manufacturers—Established 1845 
CHICAGO NEW YORK CINCINNATI 



El. ES 


BRUNSWICK . 4 

PHONOGRAPHS AND RECORDS 












































































































. the etude I 


Player-Piano 


Page 184 MATCH 1922 


SMusic in Your Hands! 


(7 HE delicacy and beauty of your touch is sure 
V-^ to suffer if by doing your heavier housework 
you allow your hands to lose their flexibility. No 
matter how thorough your knowledge of technique, 
if your hands are not kept in perfect condition you 
cannot do justice to yourself in playing even the 
simplest composition. 

fro household task so adversely affects your hands 
as itoning. It calls into play the muscles of your 
fingers and hands, not to mention the general fatigue 
due to standing for hours at a time. You will regard 
ironing with a SIMPLEX IRONER a positive joy, 
compared to the old way. It offers a means for pre¬ 
serving your accomplishment to the enjoyment of 
yourself and friends. 

Think of the satisfaction of having the whole 
week’s ironing out of the way by the middle of the 
morning! Hours every week saved for practicing or 
outside pleasures, with the constant delight of feel¬ 
ing fresh and ready for any kind of enjoyment. 

The Simplex irons—with a wonderful finish 
surpassing that obtained in the most expert hand 
ironing—practically everything in the average family 
washing, in a single hour, at a cost of but 2c for 
power. Actual, immediate cash savings effected by 
it are sufficient to care for the easy serial payments 
required. Ask us about the special FREE TRIAL 
OFFER we are making for a limited time only. Sign and 
return the coupon no w while you are thinking about it. 


AMERICAN IRONING MACHINE CO. 
170 N. IS 


AMERICAN IRONING MACHINE CO. 

170 N. Michigan Ave., Chicago, Ill. 

Entirely without obligation on my part, I should I 
ce^yo_receive^information regarding the special ■ 
_ . je si m pi ex Ironer. 


The Gulbransen Increases Your 
Repertoire Fourfold 


Gulbransen-Dickinson 
Company 


SSriis? 




Page 185 


— 


ftlT ETUDE 


MARCH 1922 

APPLE BLOSSOMS 

A SPRINGTIME IDYL H ENGELMANN 



Copyright.1905 by Theo.Presser 


British Copyright secured 





































































































































































































































































Page 186 MARCH 1922 


TEE ETUDE 


uAnujj inzz. Tv-rrn \ H>TT XT 

THEMES FROM ANDANTE CAIN ^^V^cka 

from the Quartet.Op.U w(tot ,„ m „Y w-pan wruin^uj 

A famous slow movement, in. the manner of Russian folk song. Originally for string quar , 
humber must be played so that the various parts stand out dearly. Grade 5. 

Andante cantabile m.m.J=72 



^ t 5 _ \ 




j.|— 




a 

-fms: 

1 —- 

1 ^ Ni 

,+—— m = Z = ~* J 

p ^jg- 

fcf- 

i 

i'"--- 


poco cresc. 

8 ‘ 



j 

k 


^+* m mZ.M 











-±==AA 

!v —— 



THE ETUDE 

co/njpagnanento semjrtrejppjt 5 


MARCHJ 922 Page 187 






1 

j ^ — 7ZMT* 

Xiolce 


fe>F 'l-t*? Itr*'”*Er * ~ -d* ” 

>S T vt MH\ .—-»-}L ‘ ;-1~1 y— j- 




ppt r r r r L— r z. —- ® 



CAPKICCIO JOHANNES BRAHMS,Op. 76 , No.2 

.. 


is particular composition. It is modern in 

Allegretto non troppo m^m. »=84 



^ p r |g ,,j | i_——it f - ff t - = 

S'- 4 _ 









































































































































































































































































































































































































Page 188 MARCH 1922 


THE ETUDE 



? L ? h ; s a • 

a • 4 • * 

° 2 i. a • • . 

| J~*sempre leggiero 




n P nf . • 

i 

. f tt? ** “ 




. Q u 

2 ^53 

flfo/ce 

7 ij j 

__J_„ 

7 i NT v7 _ 


) a i . a 2 . 

1 ....a 0 if - - m 4 ’ 32 

lfe 

4 ‘ ' & k \ 

L iiJ 


2 - 0 ~ fl -~ 



THE ETUDE 4 


MARCH 1922 Page 189 












































































































































































































































































































































































































Page 190 MARCH 1922 

MY LOVE IS A ROSE 

An excellent song of quiet, meditative character, suited to voices of medium compass. 

Moderato 


THEETUDE 


Words and Music'by 
WILL H. RUEBUSH 






My Love is a rose new-ly 
My Love is a rose new-ly 

o - penil, As 

o - pen’d,Rose- 

mp 

y ^ * 7 r 

pff 


—1 \ ^ ' | ^ 






i ■ § 

« & 






as rose dew-drops im-pearl’d; Each day she new beau - ty dis-clos - es, Un - seen by therestof the 

nev - erfair-er than this, The shrine where I pay my de - vo - tion, My path to theval-ley of 



Con- tent - ed my trust here re - pos - es For me are love’s pet - als un - furl’d. My 

A gift fromthe gods is my por - tion, A 

- - a tempo 



r cj C-1 ^ 

Love is a rose new-ly 

o - pen’d,The 

gold of the rose in her 

hair; Her 

heartholdsatreas - ure of 

sweet - ness, The 


^’’CET 






rs - 


5 




British Copyright secured 


IB E ETUDE MARCH 1922 Page 191 




Copyright 1922 by Theo.Presser Co. 


British Copyright secured 









































































































































































































































































































Page, 192 


MAJtUH 1922 


TUP ETUDE 




Words by Goethe 
Translated by David Bisphain 


A YEARNING HEART 


CHARLOTTE M. NEVIN-SHEY 










































































































































































































































































































































Page 194 


MARCH 1922 


THE ETUDE 


ASRA 

WILLIAM E.HAESCHE 

A showy concert mazurka, with a variety of bowing effects. The piano part is more than a mere accompaniment. 


Moderate 



D.C.% , 



TRIO 


# From here go back to the beginning and play to Fine; then play Trio. 
Copyright 1922 by Tlieo. Presser Co. 


British Copyright secured 













































































































































































































































































































THE etude 


MARCH 1922 Page 197 


New Etude Friends Everywhere 


This Special Club Issue of The Etude Music Magazine may fall into 
the hands of a very great number of people who do not receive The Etude 

regularly. 

If you happen to be one, please consider this a personal invitation to 
become one of the ever-increasing Etude family. 

Remember, that by subscribing for The Etude at $2.00 a year you 
really save 33 * 4 %, as it costs you $3.00 a year to buy your copies other¬ 
wise. 


Just imagine yourself in The Etude office for a little while. 

The immense correspondence comes from all parts of the musical 
world. _ > 

Thousands of questions are asked during the year, and from this great 
mass-hunger for musical information we form our editorial policies. 

Thus The Etude Musical Magazine is made to fit a definite purpose 
which you, our friends, have made clear to us. 

We want you to let us know what you want. Then, if the request is 
in keeping with our general editorial policy we will ransack the whole musi¬ 
cal world in a sincere effort to please you. 

We know that by giving you a real service of helpfulness, of whole¬ 
some musical enjoyment, of optimistic inspiration, of encouragement, and 
of instruction, you will never want to be without The Etude for a single 
month. 


Scores of friends write us regularly that they have been taking The 
Etude for ten, twenty, even thirty years, and enjoy it more and more all 
the time. There must be a reason. > 

Here are just a few titles of articles that are coming in future issues 
of The Etude, all by well-known experts: 

Recollections of Great Masters, by the great Russian Pianist-Con¬ 
ductor, Alexander Siloti. 

The Virtuoso’s Daily Routine, by Mme. Elly Ney. 

Elocution in Pianoforte Playing (How to recite a piece as you 
would do a poem), by Constantin von Sternberg. 

Some Secrets of Vocal Art, by Emma Calve. 

The Art of Reviewing, by Henry Holden Huss. 

Common Things in New Guise, by Blanche Dingley-Mathews. 

How to Make Your Playing Accurate, by George .C. Boyle. 

How to Master the Most Difficult Thing in Piano Playing, by Per- 

leC ^NcrtWhat You Play, but How You Play, by Harriette Brower. 
Getting Results Without Nerve Drain and Muscular Exhaustion, 

by William Benbow. , 

Practical Technic for the Beginner, by Ernst C. Krohn. 

Little Lessons from a Master’s Workshop, continuing an impor¬ 
tant series, by Prof. F. Corder, of the Royal Academy, London 

What Every Student Should Know About Phrasing, by Dr. O. A. 

Mansfield. 


Note to Music Club Members 

A number of exceptionally fffie articles on special phases of 
club work were prepared for this issue but were forced out for 
lack of space. These will be printed in succeeding issues of The 
Etude. They include a Chronological list of the Foremost 
American Composers, and many others. In fact the ensuing 
issues will be filled with splendid material for the club member. 

Departments Omitted from This Issue 

Our regular readers will note that several regular departments 
are omitted from this issue of The Etude. These include the 


Teachers’ Round Table 
The Recorder 
The Musical Scrap Book 
The Singer’s Etude 
The Violinist’s Etude 
The Organist’s Etude 

All these will he resumed next month. 



IVERS & POND 
PIANOS 


IVERS 6 POND 
PIANOS 

are used in 500 leading Educational 
Institutions and nearly 70,000 dis¬ 
criminating homes. They are today 
finer than ever. 

When you take up the purchase of a new piano, you will 
want a grand. Why not start now by letting' us mail you a 
catalogue showing the Prin ess and all our grands, uprights 
and players ? Request a paper pattern, showing the exact floor 
space this little Grand requires. 

Wherever in the United States we'have no dealer, we ship 
direct from the factory. Liberal allowance for old pianos in 
exchange. Attractive easy payment plans. 

Write us today 

Ivers & Pond Piano Co. 

141 Boylston St Boston, Mass. 


The PRINCESS GRAND 

The piano in favor today is the 
small grand. The refined model 
shown above, represents its highest 
development. Embodying half a 
century’s experience, it combines 
exquisite tone quality with remark¬ 
able power, durability and tune 
staying capacity. 





















































































































































































































































MARCH 1922 


Page 198 

Musical History should be the founda¬ 
tion for all music club programs. If, at 
the organization, a systematic plan of 
study was not adopted, it should be out¬ 
lined as soon as possible. The large club 
sometimes feels that it is not best to have 
papers by its own club members; in that 
case, a plan should be adopted, and lec¬ 
tures procured of as high a type as money 
will obtain. There are a number of peo¬ 
ple of wide reputation whose services can 
be secured. Colleges, music schools and 
universities will provide those fully capa¬ 
ble of handling any musical subject de¬ 
sired. The more call there is for these 
lectures, the more lecturers there will be 
to supply the demand. 

Dickinson, in The Study of the History 
of Music, says in the introduction: “The 
importance of this subject is now univer¬ 
sally recognized. It is in accord with the 
whole method of art study that a true 
critical appreciation should be based upon 
a knowledge of the nature of historical 
. movements, and their relation to each 
other, and to the general intellectual cur¬ 
rents of their periods. To comprehend 
' and appreciate—not to praise or blame— 

H is the music student’s first business. 

“Before a work of art, the first ques- 
)' tion should be, ‘What is it?’ not ‘Do I like 
it ?’ Only when the work is understood in 
all its bearings—its author’s standpoint, 
its motive, its place in the chain of de¬ 
velopment—may the second question come, 
‘What is it to me?”’ 

If the above paragraph was included in 
the year books of all clubs, there would 
not be so much criticism of the program 
committee, for planning a course including 
1 lectures on the development of music, 
lecture recitals, and a systematic course of 
recitals illustrating the music of a period 
or a country. 

Let us first see what may be done along 
educational lines in the large club. 

For every club, no matter of what size, 
a plan of work should be mapped out for 
several years in advance. If it would be 
suicidal to the club, as it might be in 
certain cases, to have lectures before the 
club dealing with the development of 
music, form a study group, or groups, 
where the study may be carried forward 
in detail. In a literary club, recently, six 
groups of ten each have been formed for 
the reading of dramas. Musical clubs 
might divide in this way to read operas— 
either the librettos in dialogue form, or 
with one member reading the libretto and 
others interspersing the reading with musi¬ 
cal selections from the opera, or with 
tableaux. 

Groups of pianists may be formed to 
study and play the symphonies; groups of 
other instrumentalists may be formed to 
study the instruments of the orchestra, 
and ultimately to form an orchestra. In 
a New England town of 40,000 inhabi¬ 
tants of the slow, conservative type, an 
orchestra of twenty-eight has been formed, 
which played the accompaniments for the 
women’s chorus, and played good music 
for a reception. In the same town The 
Messiah has just been given with an 
orchestra of forty amateurs. The leader 
of the club orchestra of twenty-eight had 
never led an orchestra before; she was 
just a good musician. Other towns and 
other clubs can well follow this example, 
and very surprising results will develop. 

The orchestra of twenty-eight was begun 
with three members, and resulted in 
twenty-eight in one year. 

Junior groups also will help by their 
study to make intelligent and appreciative 
listeners at the club concerts, a few years 
hence. Our young people are securing, 
through orchestras, choruses, music appre- 
ciation, and music history classes, music 
credits and individual and class vocal and 
instrumental instruction in the schools, a 
very great advantage over the preceding 
generations. 


How to Work Up Programs 
and Special Study Courses 
for Music Clubs 

By MRS. F. S. WARDWELL 


- -- -Etude is fortunate in securing the services of Mrs. F. S. • Humphrey 

tVardwell in preparing the following excellent outline of possible programs and 
study courses for musical clubs. Mrs. Wardwell for many years planned all the 
leading study courses for the National Federation of Musical Clubs, and is the author 
of various “Plans for Study for Musical Clubs.” Please note that the outlines she) 
gives here are suggestive and elastic. That the reader and the club leader may take 
as little, or as much, as the club resources permit. If you have only a few members, 
and only a few possible performers, “cut your cloth” accordingly. Many of the works 
suggested are difficult to perform in the club room. This is particularly the 


15. American Indian —Indian Fire, rw n 
Song, The Sunrise Call, Ugmn to the A? 
T'-over; Lyrics of the Red Man, LoomW. 
Song of the Ghost Dance. Funvell - % 
Waters of Minnetonka, Lieuranee: sdnn , 
the Ilopi, Medium Voice, Glen Carle. J °> 

16. French— Amaryllis, Louis XIII • 

Ami, Marie Antoinette; Vivons niureom 
Folk Song; Folk Song of Many Nations’ 
Charman’te Marguerite. Louis Elson ■ i ’ 
mances, A. Philador. ’ Ro • 

IT. Negro —Just You, II. T. BurlpiVt,. 
-Vcie World Symphony Hvornk ; ; 

Themes. II. T. Burleigh: Southern 
Coleridge-Taylor: Homesick, Med. C, 

F Gilbert Mitsha?l; 


suggested are difficult to perform in the club room, t ms is particularly me nun 
with ancient works. Here the Talking Machine is of great importance. The pub- 

-rill U. ~1~J i- --..J - t— > ...DL—.t „ ™«AU lift of 


witn ancient works. Here the Talking Machine is of grein wipjflfPL.. ± n, 

Ushers will be glad to send any Etude reader, without cost, a complete list of 
talking machine records, paralleling musical history in a very instructive manner. 


uorothy Fuller). Alohi 
Hawaiian Songs, Hopkins. India 
Troyer, Farwell, Burton, 
ance and Fletcher. 

Specimen Pbogram 




EX PROGRAM OF THE 1ST. AMBROSE 

Society, New Haven, Conn. 
oik Music 

La Rozina; La Boghera; 


non, je n’irai plus au oois. senarnt 

igs: Bonnie Laddie, Highland folk 


A pleasing program for the holiday English Folk Chanteys, C. J. Sharp. English ZAff—i 
season is a Christmas Carol Pageant, with 
stage setting, processional, the singers in 
costume, and carols sung by the chorus 
and audience. 

From the following programs, a large 
club may choose lectures in as systematic 
a way as possible, to intersperse in its 
program, using what has not already been 
studied. ye/ 

To insure each member’s taking a part, L «< 
in a small or medium sized club, the roll 
may be called, each member giving some 
musical fact. 

A program with broad influence: Cor¬ 
relation-Musician, Poet and Artist. 

An abundance of Reference Material is 
given herewith, so that great variety of 
choice is possible. 

A Club Outline for the Study of French, 

Italian and English Opera 

1, History of Opera by Periods. 2, Place 
the story holds in general history. 3, Sketch 
™ I-ibrettist or Poet, including anecdotes. 


French Songs. O ma i 
give legdre; Non, je n’ir 
Scotch Songs: Bonnie i 
lie; Faithful Johnnie. 

>>elsh Song: All through the night. 
Hungarian—Piano : Rhapsodic Hungrolse 
No. 12, Liszt; Swedish Duet; Friaren; The 
Done and the Lily. 

Indian Songs : Death Song —Tribe of Ojili- 
way ; The ; Moon Dropped Low—Tribe of 


«'• rieta. Warrior 
f' Gilbert.* 1 ’ ^ 

IS. Spanish —Book of Spanish Lyrics 
Zuera, Ramon, Igualda IV (for piano)! ’ 

19. Portugese— Innocencia, Collection of 

Patriotic Songs; King Pedro IV. Uviniin ,i„ 
Carlo, 1S26 : Braga, Folk Song of the Azores’• 
Colleccao de Fedos, A. R. Calaeo. ’ 

20. Netherlands —Five Old Folk Sonas nt 
the Netherlands, Hanna Van : Pollen Loven 
(for the piano. Grade III-IV). 

21. Japanese—Five poems from the Jan 
anese, Norman Peterkin : Dew; At the nWt?~. 
A Farewell; The Quest; The Forlorn HnL’ 

National Folk Songs and Dance Forms 
of many Countries : Iceland —Bravely Sails 
My Little Bark. Servia— Come , My Dearest 
Fa-rot—There’s No Deity Bui Cod. China 
mine Flower. Germany— l.orelei Scot 
land —Bonnie Dundoon. Ireland —Wcarinn 
of the Green Italy —Santa Lari,,. Tuscany 
—.1 Streamlet Full of Flowers, Nearest 
and Dearest. Russin —Red Sara Ian. France 
There was a Little Maiden. America— 
Indian Cycle, Cadman. America— 

22. Miscellaneous—The Shepherd’s Plaint, 

Kurt''’ Sehiml'h.r' . S '.' P S!L?°E* A1 „ bum - 

by Rnimbnnt <> 


k Peasant 




of Ruhhiu. .. Published 


mis Song Collection. Yvette Gullbert. .16 
Cnannonn Ancicnmn, nrr. nnd hnnnonized i>v 
Gustav Ferrari, vol. 1, Du Moven afi. 
Renaissance. 


Columbia. 




It is suggested that the clubs combine 
with the schools in the study of Folk 
Music, and ask the children to give the 
dances before the club, or the societies of 
the different nations—Bohemian, Hungar¬ 
ian, Italian, Slovacs, Russian, Polish, 
Irish, Scotch, English, Greek, French, 


Itymne 


t Sare the music holds ^“thf development Irish, Scotch, Engli 
of Opera. 5, The type of opera; Opera Swedish, Norwegian, 
of the eoinposer. ’Read** stor?es & of his^most English Society—Sons of St. George. 
^ d ,r? s u of w11 the. libretto is not Irish—Knights of Columbus, Ladies of 
of !'t,e peS d a“d“ S naDom T^DeSe ^ccabees. Scotch-Daughters of Scotia. 
D^X^e “y^° p s.Vh? lib” no Str Sr a N ° Africanization work can be 

in dialogue form or read by one person cut cone than showing the natives of these 
Tueree win. i V , i^H^ s a tr ?^ h ^l tory - fnter i ? ifferent countries that we are interested 
tableaux when time permits. the opera and ; n their social and home life, and by our 
, Operas to be Illustrated trusting them in a friendly manner, show- 

n 1 ‘ Auber ! Era Diavolo. French and Italian ing them that we have a kindly interest in 
Bnff B tUr » e n % in S Iudme o th ''r, 17th c ™tury, Opera them. 

S T“- r, 2 ’ Purcell, Dido-Aencas. 

Sonn7mluIa.’ 5* Monfcmezzi F■ F 0LK Mcsic Folk Type Music 

Pemas e -et\^S tionaiTo Battle Song, Na- 

Le Coq d’or. * y Jxorsakoff, e Eiiglish —-Pretty Polly Oliver, The Lass 

with the Delicate Air, Arne; Drink tc — - 
Reference Books. only with Thine Eyes; It was a Lover 

iMn Wardwell, chapter ht * Tno ° **' " 


Program at Teachers’ Colleo 
Ghatclain de Coney, 11 SO; .Me, 

Adam de in Halle. 1285 ; J’oi e 
Cate, Guillaume de Machanit. 

Dame Jolic, Moravian, " — 

Soir, Jacques Lefevre, 1613 • Dims Notre 
Village, Lancel, 1745 ; Comtatlll, 

Irish Songs, Oliver Ditson ; Scotch Songs, 
Oliver Ditson ; 25 Old Irish Poll; Songs 
(Boosey), Charles Wood; Songs „t old Ire- 
land, 50 Melodies, (Boosey), C\ V. Stanford; 
c°’r‘ a \ "LA/'!' (Boosey). C. y. Stanford; 
6 Irish Miniatures (Boosey) C. V. Stanford 
Irish songs sung by McCormack. The Bard 
of Armagh, arr. I.y Herbert Hughes :As / 
Went A-Walking, nrr. by Pnge; Norah 

Lo" e t;/ r Mc.^ r ^C Motr!,t ,t,1, ‘ 8; ■'■■■"* Mv 
' 3 Bohemian Folk Songs, Rudolph Friml. 

J-innisli Polk Songs: Somme, Erening, 
Mixed Chorus, Soprano Obligato Cimig hv 
Sundalius). Folk Song Phanlasn string 
Qimrette. Prize II. Waldo Warner. Modern 

Gauthier)” 9 *' alT ' Ravc1 ’ < S,1,| K bv Eva 

Welsh—The Blueing 
from Welsh Folk Poem 
Bnglish—Percy Grail.*.-, 

Morris Dance, also for violii 

orchestra 


, sh, Ip ;r;;r'; a X- 


General View of Music, Wardwell ehnntei 
chanters” 1 ' J ationalit i™ in Music, Wardwell 
oper .?' Nationalities in Music 
programs. Mignon & 
Mmc. Butterfly, Wardwell; Outline with sim- 
and W pr *nd tableaux. Opera Past 

lAbreftos^ Vi<,to '; 0pora Book - 

i, l ' tandnr 'l Operas, Upton. Opera 
march ” S ° n ’ Ruasian Rosa New- 


•» wnn same Eyes; It was a Lover and 
01(1 English Songs. Mrs. Moslev; 
I attempt from Love’s Sickness to Fly, Old 
English; jFrom Rosy Bowers T 


trish Tune from County Derry ; The Sus- 
Tu„J"u"",' Carol; Walking 

Tune, Mock Morns. Popular and Concert 
Version. V. and l’f. .String Sextette 
fr FA T ?\ G , ral "P r > Songs — Died for Love, 
IJneolnshlre; Six Dukes Went A-Fish- 

/Z;,%ZZX u Yry (A CaM lli * h Tune 

noo?c" d v aVia ~ Ba0kprf;ru, ' (lnh '- Swedish 
l,Z7s’„ %™ r <” an " a «cr; Palmgren. Fin- 


German—®S Taget von dem Waldc. 
>)J Rolietl R Tracey; Come Dorothy, 
Tracey. Bantock 


nance, Norwe 
landish Dance. 

\ n ’tempt. Tschaikowski —Slavic Dance Piano eiel 

r. by Edwasd hands: Christ Jesus Once .4 Gordin Made. 

’ t'°I k Songs of Alsace, Lorraine ar 
Champagne, harmonized by Gustave Ferrat 


the New 

or Musicui courier. 

For Orchestration of the Opera - Sto 
Music and 7 he Orchestra, Henderson. 


America , 5 ' Hungaria: 
erica, j oa p him . Gyp 


ie Maiden’s' Lament, 1793*Tl’ DnrinZ 
.ofm^nn. and Butch Folk Lullaby, JosTph 

5. Hungarian —Hungarian Violin Concerto 
tachim : Gypsies’ Mri n s.. Jor vYolinl iem- 


Onc Hi 


Courses in Folk Music Albums. 

Folk Songs of all Nations, 
Songs of Many Nations, 
mat and Tunh.ni c.. . , 


r; Nation- 
i! Rhapso- 
1, G maj., 


Bantock. Folk 
Elson. The National 
all Lands, Sousa. 

Music op Specific Nations. 


jrranz jjjriii 
dies , Liszt; Gypsy Rot 
Haydn. 

e jr %tnnf°nrd of Th ™.a S Moore 

StanCord S„ , u: s-/„- s /, Folk Songs 
& Co., Mary, My Loved One, Mary 


uiv/tr, wmreneacl. 

Foil' ‘sZigTTid 01 VaZ7ts T t„T 

tandy and Brittany. Folk Sonus , 

- — South America (snag V Gm 


Mnmy Nations^ C. V. oiauioru ; ; 

Typical Songs of Boosey & Co.; Mai 
E. Olyott. 

Mia Ptccerillo, Folk Song. 3 F ° lk Song; 

X'S”T„rio«1h ‘ ,r T of (ScF~^° Gri '^' 

SMS ni ft and°7v; 

A.’ Barrett. mil po«r VeM,0nS 

forte, C. J.’ShaT EiiglJsTV £%°s, 


A Club . .. „„ ms ius« of x-olyphohi 

I. Define and illustrate Discant, 
Conic- P ?! nt ’, Imitation, Canon. Fugue. 
lC k f, standard History of Music, p. 33. 
p’tSjjg Counterpomt-IIunt, History of Music, 

««ar 

tiding ton 

(151? ‘ D 1 unsta,)I ° (1400-1458). Tallis 

n S? i«ori ■ ,l 5 - vr(1 (1588-1623). (tibbons 

E' H ir P J ,ro °H (1658-1605). Purcell 
S ft n' K 1 ., UH> n,(l ° find Aeneas. Twelve 
Of Music 1 l N ' ov, ' n °) • Baltzell. History 

Round nrr p h„ y , 121 - I’iano, Sellinger’s 
forte Aih,, r „,, l vr ' 1 - Selections from Piano- 
PkcMfnl i. 0,1 English Composers. Piano 
Old ' ewEi a J, l,ls - 16th - 17th. 18th Centuries. 
Englifh 1 A nai., Co !"g 0 * rra - Albums, ea. $1.00. 

VtsS. o. 

tes;r-«S 3 sa iiisiS!: 

StanZtd n? e , rm " n i!u * ic - P- 1°. Cooke, 
Topu v Gnnna°n Marie \ w 11 Ger¬ 
und Sendnr 1 ’ P A 7 -, Early Music"'Religious 
Chant Wo ? arl - T Schools. Plain 

par q Be 0n e ntiae, p. s. Origin of Hymns, 

* P- ». Outlines of Music History, 


the ETUDE 


Wilhelm Hansen 

Music Publisher 
Copenhagen, Denmark 


Ign. Friedman 

Preparatory Studies 

for 

Advanced Technique 


Everybody knowing the success 
of Friedman ought not to fail 
studying after the method given by 
the Master. 


Jean Sibelius 
Valse Lyrique 

Piano Solo 
Small Orchestra 


Selim Palmgren 

Musette for Violin 
and Piano 


A Brilliant and Effective Operetta 
for Junior Music Clubs 

PANDORA 


C. E. Le MASSENA 

Based on the ancient Grecian 
myth as retold by Hawthorne 
in his fanciful tale “The Para¬ 
dise of Children.’’ 

The dramatic possibilities of this delight¬ 
ful story will readily be realized. Around tlm 
plot, the composer has woven an operetta 
suitable for use^y schools, clubs and church 

and expense, although opportunity is afforded 
ifdesTr^d. 1 * argCC 0rUSan oraescenery 

PRICE, $1.00 



THEODORE PRESSER CO. 

1710-1712-1714 CHESTNUT ST. 

PHILADELPHIA PA. 


Music, p. 10, p__. „. 

Topic vi. Earliest collections of German 
Music, p. 9, par. 5. Results of Folk Songs 
(Parry), p. 9, par. 6. Early Protestant 
Church Music, p. 13, par. 2. Luther (1483- 
1546). The Chorale. Early Hymn Writers. 
P- 1L par. 3. Walther (1496-1570). Isaac 
(d. 1518). Senfl (d. 1555). 

Topic vii. Second period of Protestant 
Church Music-1550. Hassler (1564-1612). 

1553). Pretorius (1571-1621). 


German Language and Poeti 

- Music,” Vol. : 


Wardwell, „ 

Topic viii. The Italian Schooi 
trina. Willaert (1480-1562). Ro: _ 

‘ Gabrieli (1510-1586). G. Gab- 


15. 

) Pales- 


ire, de ( 


rieli (1557-1613). " Arkad'eltT_ 

Goudimel (1510-1572). Palestrina (1514- 
1594). Tapper-Goetsehius, Essentials in 
Music History, p. 106-130. 

Topic ix. Secular Art Song. Fifteenth 
and Sixteenth Centuries. Frottole or Ballad, 
Italy. Elson, Book of Musical Knowledge, 
p. 59. Vilanelle, Simple pastoral song. 
Madrigal, Secular Part Song. Baltzell, 
History of Music, p. 142-143. Motet. Sacred 
Part Song. Elson, Book of Musical Know¬ 
ledge, p. 362, 4S. Petrucci, (1466-1523), 
Music Printing. Movable type, Baltzell, 
History of Music, p. 145. Music, Hamilton, 


merj. Female voices. 


Wardwell, German Music, hoi. 1, p. 15. 
Dickinson, Studies in the History of Music, 
p. 72. For organ development see Baltzell, 
History of Music, p. 156. Landino (1325- 
1390). Organist at Florence. Paumann 
(1410-1473), Oldest organ compositions. 
Ducis (1480), Pupil of des r 
(1490-1562), 


_ Willaert 

Define Ricercari, 
Toccati, Praea 


,_ . _ Merulo (1532-1604), 

Organist at Venice. Andrea Gabrieli ( ? - 
1586), Organist at Venice. Giovanni Gabrieli 
(1557-1613), Organist at Venice. Sweelinck 
(1558-1603), Organist at Amsterdam. Sum¬ 
mary of Ecclesiastical Music to 1600. Tapper- 
Goetschius, Essentials of Music History, p. 
128-129, compares musical dates with dates 
in General History. Frescobaldi (1583-1644), 
St. Peter’s, Rome. German Organists. Prae- 
torius (1571-1651), Short sketch in Tapper- 
Gdetschius, Essentials of Music History, p. 
138. Scheidemann (1596-1663), Hamburg. 
Reinken (1623-1722), Hamburg; Bach went 
to hear him, to learn his style. Pachelbel 
(1653-1706), Nuremberg. Buxtehude (1637- 
1707), in Lubeek for 39 years. Fux (1660- 
1741) ; His book on Counterpoint trained 
Haydn, Mozart and Beethoven. Bach (1685- 
1750), Leipsic. Handel (16S5-1759), London. 


Okgan Recital of Early Music 
1, Andrea Gabrieli, Canzo 


_ _ v n 2, 'Cabezon, 

Diferencias. 3, Palestrina,. Rieercare. 4, 
Sweelinck, Fantasia in the manner of an 
Echo. 5, Scheldt, Cantilena Angelica For- 
tunae. 6, Frescobaldi, Toccata. 7, Couperin, 
Soenr Monique. 8, Purcell, Prelude. 9, 
Pachelbel, Christmas Chorale. 10, Grigny, 
Recit de Tierce en Taille. 11, Buxtehude, 
Prelude, Fugue, and Chaconne in C. 

Nos. 7 and 11 Published by Schott, of 
London (Schirmer). The rest of the organ 
numbers are from Vol. 1, Historical Organ 
Recitals by Joseph Bonnet. Published by 


A Club Course c 






Topic i. Natural Primitive Music—Its 
rhythm, melody, scale. Hubbard, p. 1-14. 
Parry, Evolution of the Art of Music, p. o. 
Elson, Book of Musical Knowledge, p. 1. 
Pentatonic Scale. Ills. Auld Lang Sync. 
Bonnie Doon. Music of the Chinese. Jap¬ 
anese, Egyptians, Hebrews. Notes sounded 
bv Chinese instrument, the Sheng (see p. 27, 
Baltzell History of Music). Account of 
Chinese music begins p. 25. For Chinese tune 
see p. 8, Tapper-Goetsehius Essentials in 
Music History. Chinese March, p. 9, Cooke, 
Outline of Music History. Japanese Music, 
p 30, Baltzell, History of Music, p. 10, 
Hamilton, Outlines of Music History. Hebrew 
Tune, p. 17, Hamilton, Outlines of Music 
History. Melodic Fragment. Tapper-Goet¬ 
sehius. Essentials in Music History, p. 18. 
Kol Nidrei, Ancient Hebrew Melody, Adapted 
by Dr. C. G. Verrinder (Novello). arr. 
Ancient Melody, by Mana Zucca, pub. by 


D. A. CLIPPINGER 

Summer Term for Singers 

Five Weeks, Beginning June Twenty-sixth 

PRIVATE LESSONS INCLUDE VOICE PRODUCTION, INTERPRETATION, 
REPERTOIRE, SONG CLASSICS, ORATORIO 
Class Lessons, Lectures. An unexcelled Te.ichors’ Course 
Mr. Clippinger is the author of two widely-used books 
The Head Voice and Other Problems, $1.25. Systematic Voice Training, $1.25 
SEND FOR CIRCULAR—ADDRESS 

D. A. CLIPPINGER 

617-18 KIMBALL HALL CHICAGO, ILL. 


MARCH 1922 Page 199 

Are American Audiences 
Demanding Better Music? 

An Interview with Mme. Sturkow-Ryder 


Mme. Sturkow-Ryder is an American 
pianiste who has gained wide popularity 
among American audiences. She has 
appeared extensively throughout the 
country in concerts and also as soloist 
with the Chicago Symphony Orchestra 
and others of the country’s leading or¬ 
chestras. She is consequently well fit¬ 
ted to interpret the demands of Ameri¬ 
can audiences. 

Mme. Sturkow-Ryder is well known 
also as a composer and is at the present 
time engaged in writing her Lincoln 
Fork Symphony which will, in all prob¬ 
ability, be presented by the Chicago 
Symphony Orchestra this season. The 
inspiration for this symphony originated 
through childhood impressions of the 
beauties of Lincoln Park in Chicago. 

A large part of Mme. Sturkow- 
Ryder’s concert work is now devoted to 
recitals throughout the country m com¬ 
parison with the Apollo Reproducing 
Piano for which she has personally 
recorded many of her most charming 
selections. The following interview is 
reprinted from a recent issue of the 
Harrisburg Telegraph and was given 
just before her appearance in one of 
these Apollo recitals in Harrisburg, Pa. 
Speaking of her recital, the Telegraph 
said; 

“Mme. Ryder made a profound im¬ 
pression both through her playing and 
her personality. 

“Before her last appearance here, 
Mme. Ryder was asked to tell something 
of her impressions of the future of 
music among American people, and the 
means through which a keener appre¬ 
ciation for good music is being accom¬ 
plished. For the Apollo Reproducing 
Piano recitals have this as their true 
burden. The advertising possibilities in 
each concert are absolutely subdued and 
put into the background. 

How We Patronize Art 

“ ‘In America we have something of a 
different condition prevailing among the 
arts than is found in foreign countries. 
A certain portion of the expense of sup¬ 
porting the Opera, Music and the Arts 
in the foreign countries is borne by the 
government and by patrons. In this 
country the people at large are the pa¬ 
ternal guardians of music and of every 
art, and in our private possession of 
musical instruments of every sort, we 
express that guardianship. Our state 
governments too are now coming for¬ 
ward and placing music more on the 
level it should occupy in our public 
schools.’ 

“ ‘Very rightfully,’ continued Mme. 
Ryder, ‘music should be a part of our 
lives, for through music we open up to 
our lives the arts and the literatures of 
our brother peoples, and through this 
medium we not only enrich our own 
lives, but we learn and we understand 
other people better.’ 

'“But does music produced through 
the medium of player and reproducing 
pianos, or through any means which 
does not require personal effort, really 
help much in the musical education of a 
nation?’ Mme. Ryder was asked. 

Americans Now More Critical 

" ‘Emphatically it does,’ Mme. replied. 
‘Every one of the great artists who 
make tours of this country will tell you 
as they have told me that American 
audiences everywhere are far more ap¬ 
preciative of good music and more criti¬ 
cal of the kind of music they want and 
are more responsive. We who play be- 
when addressing our advertisers. 



Madame Sturkow-Ryder 


fore American audiences the greater part 
of the time do not see this as clearly as 
those artists who come to this country 
possibly once in five years for a concert 
tour. Their word, it would seem, 
should carry a great deal of encourage¬ 
ment for our musical education. One 
difference that is to be noted between 
the American music as compared with 
that of other countries is that the Ameri¬ 
can audience demands brevity and con¬ 
trast. It does not indicate that Ameri¬ 
can standards are the lower because they 
demand brevity, but they do not sanction 
the needless repetition which is so char¬ 
acteristic of some of the foreign 
schools.’ 

“Mme. Ryder is whole-heartedly in¬ 
terested in raising the American stan¬ 
dard of music and unqualifiedly believes 
that this country possesses unlimited ca¬ 
pacities in that direction and as she ex¬ 
presses it: ‘My aim is, in every selec¬ 
tion I play, to give my audience an in¬ 
spiration for something which they did 
not have before the concert began.’ ” 


Mme. Sturkow-Ryder will appear in 
Apollo recitals from time to time in 
many towns throughout the country. 
They have proved to be very instructive 
and of great interest to music lovers 
wherever given. They demonstrate, by 
direct comparison, the extent to which 
true pianistic reproduction has been at¬ 
tained; hozv the music of the classic 
composers and the art of the great pian¬ 
ists may be brought to the home in the 
truest sense. Those who are interested 
may secure information as to when one 
of these concerts will be given in their 
town or vicinity by addressing the 
Apollo Piano Company, DeKalb, Illinois, 
or sending the coupon below. 


The Apollo Piano Company, 2643 
DeKalb, Illinois. 

Will you please let me know when 
one of Mme. Sturkow-Ryder’s Apollo 
Recitals will be given in my town or 
vicinity. 




Address 


Town. State. 


Please mention 


ETUDE 


























































th e etc 


Page 200 MARCH 1922 



The quality of its tone 
enraptures the heart 
as its beauty of con¬ 
struction delights the 
eye- 

Schomacker Piano 
Company 

ESTABLISHED 1838 

PHILADELPHIA, PA. 


rGALU-CURCI 



Endorses the 

Lehmann Method 

of Singing 

Ab infallible means to success 
when properly applied. 

Because it is based upon a code 
of scientific principles evolved 
through long years of study and 
experience. 

Students and Artists now have 
access to this Method through . 

MINNA KAUFMANN 

CARNEGIE HALL NEW YORK 


An Authorized Teacher of 
the LEHMANN METHOD 


firmer. ^Musie^of the Bible, Stainer, The 

Topic n. Music of Ancient Greece and 
“ ou ! e - , Hymn to Calliope, p. 15, Elson, 
Hook of Musical Knowledge. The tetrachord, 
Cooke, Standard History of Music. The 
Scale System. 

Topic III. Music of the Early Christian 
(hurdi. Pope Sylvester, 330 A. D. Saint 
Ambrose (333-307). Hymn by St. Ambrose, 
p. 34. Tapper-Goetschius, Essentials in Music 
History. Gregory the Great, (540-804). 
hync, p. 20, Cooke, Standard History 

Topic iv. The 

to John the Baptist, p. 34, Hamilton, „„.„„ 

of Music History. Beginiug of Harmony, 
llucbaid (840-930). Tapper-Goetschius, Es¬ 
sentials in Music History, p. 45. 

.Topic v. Notation. Ills. Cooke, Standard 
History of Music, p. 23. Hamilton, Outlines 
of Music History, p. 38-39. Elson, Book of 
Musical Knowledge, p. 29. The Divisions 
ol the Great Staff Hunt, History of Music, 
p. 89. ’ 

Topic vi. Minstrels and Troubadours. 
Minnesingers of Germany. Minnelied, Ham¬ 
ilton, Outlines of Music History, p. 43. 
Cooke, Standard History of Music, p 29 
Song by King of Navarre. Troubadours’ 
and Trouyeres of France. Cooke, Standard 
History of Music, p. 27. Baltzell, History of 
Music, p. 82. Adam de La Halle, 1240. Ail 
from Robin and Marion. Baltzell, History 
°t P* S4 - Hunt, History of Music, 

A number of composers have written in the 

0h , irl ''' s< ' ® nd Japanese music; Bain- 
of i Anci™t S Chi nd Fay Foster ’ t0 translations 
of Ancient Chinese poems. Dwight Fisk has 
written the following: Tears (Chinese, sixth 
century) ; Moonlight (Chinese, ninth cen 
tury) ; The Shoreless Sea (Chinese ninth 
century) ; ’Cello, Hebrew J/eiody Ro’sovsky 

How to Keep Up Interest in a 
Club Music Section 

By Mrs. Edward S. Luce 

After a strenuous two years as State 
Chairman of Music in the Nebraska Fed¬ 
eration of Women’s Clubs, I am convinced 
that there is no excuse for any general 
club being without a music study section. 
The average club comprises middle-aged 
women who have brought up their families 
and are finally preparing courses of study 
for themselves. 

Their interest can be stimulated through 
many channels. 

First: By creating the desire to keep up 
with friend husband and the family in 
their music life. 

Second: By the realization that in 
their early years they had not the ad¬ 
vantages of today. 

Third: By the actual need of relaxa¬ 
tion through music. 

Fourth: By the appreciation of Com¬ 
munity service—whether it be club, church, 
school, lodge, social or home music. 

Fifth: By gaining self-confidence and 
a broadening education through a system¬ 
atic music study. This end may be gained 
through carefully planned outlines, study 
of biographies, librettos of operas, and 
perhaps most important of all, keeping 
abreast of the times through just such 
musical publications as The Etude. 


Speed Kings at the Keyboard 

By Ada Mae Hofffek 

Many teachers are troubled with pupils 
who continually play too rapidly. In such 
cases the right hand usually plays the 
notes with fair correctness, but the left 
hand is permitted to make all sorts of 
mistakes. The best remedy is to insist 
upon the pupil studying the left hand sep¬ 
arately and slowly until it cart be played 
very accurately. Every time a mistake is 
made in the left hand part, stop the pupil 
at once and correct the mistake. Often 
the pupil tries to cover blunders in the 
left hand by rushing over them with the 
right hand. This is one of the ways of 
inducing the pupil to play at the proper 
speed. 


Messenger from a Departing Race 

Princess Watahwaso 



Recitals in Costume, Legends, Songs, Dances 

A Sensational 

arSrf-- 

Herald—" !/ artety of effect and Intelligence" 

Success in 

c 1l ° he T , A successful recital" 

Sun Voice of remarkable richness and quaiiiu " 

New York 

y&&Sj2& , Zr 7ni7s" °" h en,hU ‘ la ’ m " 

° fUagC JtmanJinS 


FOR TERMS AND DATES APPLY TO 

WATAHWASO STUDIO 111 W. 68th St., New York 


The 

Washington Heights 
Musical Club 

For Musicians and Students of 
Music 

Season 1921-22 

6 Closed Meetings (for members only) 

2 0pe " Matings 2 Recitals 

jumor Branch for Young People 
Constantly Crowing Membership 
Increased Activities in 1922-23 

Fo, P„,,^lu, mJ ^ 

MI ^ N L R 3 t CAT ™, President 

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fill'] ETUDE 


MARCH 192, 


Page 201 


ETHEL GROW 


CONTRALTO 



11 W. 57th Street, New York 


“Miss Ethel Grow, Contral- 
I made her American debut 
I - October at the Town Hall, 
/here she created a most 
tvorable impressic * — iI -- 


“Miss 


from 


n American, 


ind it v 


s at 


the request of Frederick . 
that she went to England to 
make her formal debut as a 
concert artist, after which she 
returned to New York to con¬ 
tinue her work. She quite 
captured London and won the 
commendation of Sir Henry 
Wood, eminent authority on 


•onfidence in b 
icfore she delive 
Not only do 




kinds ( 
to g£ 
Bach : 


the voice, ^ 

■on’ the 1 "somber 
eethoven numbers 

.. ..._ French chanson, 

each song perfect in 
deal feeling, quality of 

Miss Grow has much to 
r a music-loving public, 
i will appreciate her gifts 
a vocalist. Iler next re- 
1 in New Y’ork City will 
given under the auspices 
the Washington Heights 
sical Club, at the Hotel 
zn, Fifty-eighth street and 


New Yor\ Morning Telegraph 
Dec. 18, 1921' 


rAn American Tenors 

With an International 
Reputation 


Martin Richardson 


Acclaimed in Florence, Naples, 

Rome, Paris and London as 
well as throughout America. 

OPERA-CONCERT—RECITAL-ORATORIO 

FORMER tenor of Royal Opera, Florence. Soloist 
7. with the Minneapolis Symphony Orchestra, Sta¬ 
dium Symphony Orchestra, People's Institute Con¬ 
certs, Tour of Maine, Tour bf the West in sixty 
Concerts, Tour with Albert Spalding, Appearances 

StojowskT^Steeb c{j u I mann ' Heil111 ' Gates - Salvi ’ 


ERIK HUNEKER, 70 Fifth Avenue, New York 





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Canada Rate $2.00 a year 
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Musical Pie 

The revival of the Beggar’s Opera in 
New York as a kind of antiquarian 
novelty after its slumber of over one 
hundred years, has called attention to the 
Pasticcio. A Pasticcio is simply a pie, 
a musical or operatic pie. Pieces of this 
sort were immensely popular in the eigh¬ 
teenth century, and indeed their popularity 
has not diminished in what the public is 
now willing to accept as light opera. 
There are brought out on Broadway every 
year many Pasticcio of the Revue sort 
which, musically considered, are merely 
miserable jumbles of pirated tunes. The 
old musical pies of the Eighteenth Century 
were often quite serious in intent. 
Sometimes as many as six or seven or even 
twelve composers would “have a finger in 
the pie.” Often so little was thought of 
the music that the names of the makers 
of the music would never appear in the 
advertisements (another practice copied 
by “Tin Pan Alley”). 

Naturally most of the music was 
written by musical hacks, but some of the 
foremost musicians of the day did not 
disdain making tunes for such works. 
Indeed it was a Pasticcio of Gluck which 
made that master turn from the more 
conventional work of his youth to the 
sincere art purposes which broUght im¬ 
mortality to him. In 1746 Gluck attempted 
to make a Pasticcio out of his best known 
operatic tunes. This was produced under 
the title of Piramo e Tisbe and was liked 
by the audiences but ultimately failed. 
Gluck was too great an artist not to realize 
that the patch work he had made was in¬ 
artistic as a whole. He went to Vienna 
where he reached the conclusion that 
beautiful melody or beautiful music in 
itself was inconsequential as dramatic 
music, unless it evolved from the scene it 
purported to portray. Thus the failure of 
a musical pie was the beginning of a new 
era in opera. Gluck’s later works represent 
an immense advance over his earlier com¬ 
positions from the standpoint of truthful¬ 
ness of expression, unity, and artistic 
sincereity . 

Does the public really care? It un¬ 
questionably does. Even in the lighter 
forms of opera such works as The Choco¬ 
late Soldier, The Merry Widow, Robin 
Hood, Mile Modiste, Pinafore, Mikado, 
The Geisha, have proven far more profit¬ 
able ventures in the long run than the 
various kinds of ill-digested musical 
pastry cooked up in some of the Broad¬ 
way dramatic hash houses. Far sighted 
managers and publishers know this and are 
always ready and anxious to give attention 
to works of genuine musical worth and 
real human appeal. 


When They Wrote Their First 
Symphonies 

Mozart, at the age of eight. 

Schubert, at the age of fourteen. 

Glazunov, at the age of sixteen. 

Rimsky-Korsakoff, at the age of nineteen 
in 1867—the first symphony written by 
a Russian composer. 

Beethoven, at the age of twenty. 

Berlioz, at the age of twenty-five. 

Haydn, at the age of twenty-seven. 

Tchaikowsky, at the age of twenty-seven. 

Schumann, at the age of thirty. (The 
pen he used he had found on the grave 
of Beethoven). 

Mahler, at the age of thirty-one. 

Elgar, at the age of fifty-one. 


Permanence in a work of art de¬ 
pends, to a great extent, upon its being 
able to stand the test of frequent 
scrutiny without betraying serious 
flaws; this is only achieved by consid¬ 
erable concentration of faculty and 
self-restraint. 

—Sir Charles Hubert Parry 



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Page 202 MARCH 1922 


THE etude 







How Many Pounds 


Gain In One Week? 


The Gentle Art of Capturing Audiences 

(Continued, from page 169.) - - 

painful history of Muck'in relation to the prize winners of the N. F. M. C. contests 1A/ All I | All I llr a 1 

Boston Symphony. When a city, by the of last year are to be given a tour of the TT VU1U * UU 10 

communal action of public-spirited, repre¬ 
sentative citizens has established a sym¬ 
phony orchestra, that orchestra becomes 
not merely the index of the state of cul¬ 
ture but the actual living voice of the com¬ 
munity that gave it birth. It is the com¬ 
mon aspiration of the people made articu¬ 
late. When it goes abroad it tells of the 
greatness of the place of its origin; when 
it plays at home it ministers to the hun¬ 
gry-hearted multitude, and wherever it is 
heard it is translating to an audience; it 
interprets age to age and life to life; it 
teaches history, philosophy, ethics; it is 


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it year a-- 

musical clubs. Here is a fine rallying 
point for club interests and also an oppor¬ 
tunity to help American talent proven de¬ 
serving. 

Audiences demand variety, not merely 
in the programs chosen but in the series 
of concerts planned. It would seem to 
the writer that a club season with, let us 
say, one program devoted to Ancient Folk 
Songs with a well known French singer, 
a program of Russian Music with a 
Russian pianist, a program of American 
Music with an American violinist, a pro 
_ . .. , ... gram of Indian music with a native sin- 

ancillary to religion and in its highest ger such as Wathawasso, would be more 
form it is as surely serving God as any likely to stimulate continued interest than 
priesthood of the churches. Music will one planned to take up ultramodern, futur- 
not want an audience as long as there are istic music exclusively, 
those on earth who weary of “man’s fit- Another practical aspect of concert giv- 
ful uproar mingling with his toil” and ing is that cf shrewdly judging the draw- 
mu„t have for their peace of mind, their ing power of an artist in that section of 
tranquility of heart, those sweet concor- th community to which the club may ap- 
dances and cadences that are the nearest peal. This must be balanced by the fee 
of the artist. An artist of the highest 
rank such as a Paderewski or a Gaili-Curci, 
a McCormack or a Schumann-Heink has 
an established drawing power, but in the 
case of the club these artists are so cer¬ 
tain of this themselves that they almost al¬ 
ways appear under their own management 
and the profits are consumed by the fees 
which are naturally very high. However 
f the club has a large auditorium and a 


Some Practical Aspects 

Many clubs of music lovers seem to 
feel that the principal thing about an au¬ 
dience is to get the audience in the audi¬ 
torium beyond a well fed box office. This 
is by no means the main consideration. 

Most of all, the club must be sure that 

the artists engaged will really serve the loyal following the great star is the only 
cause so well that there will be created in secure step even though the profits be less, 
the audience a desire to attend regularly, To be on the safe side, the club must 

L”;“ d .,‘r si,zzrx T k “ t gro ” mi,u * ,ottl !a,e 

is continually given re-engagements based °. SCatS ’ / Gt,n,ate the expenses ’ make 
upon his actual artistic accomplishments. allowanc « for .inclement weather and then 
This in itself should in a measure influ- ™ ga f e tke artist most likely to fill the au- 
ence the club in engaging an artist. Watch dltorlum ,—without leaving too little finan- 
his reengagements. If he is wanted in c ’ a * mar K' n - Many a club has been bank- 
different localities year after year there is ru Pted owing to the good salesmanship of 
little risk in engaging him again. some over enthusiastic manager of artists 

However, the club must keep constantly who has persuaded the club to employ a 
on the outlook for new and worthy per- “cheap” artist, when an established artist 
formers. The writer has heard that the at a good fee would have meant a profit, 


Choose Your Audience 

By Ira M. Brown 

Many do not have the faculty of 
listening attentively to music. 

Shun playing for such. 

They neither appreciate your efforts, nor 
are they benefited by them. 

They are the musically uneducated, who 


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Fabri Opera School 

PHILADELPHIA, PA. 
THREE MONTHS’ TOUR OF 
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NAPLES, ROME, MILAN, VENICE, 
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The Tour will include a Course of Advisory 

Lessons to Individuals 
When capable, arrangements may be made for 
members to have operatic and concert appearances 
High artistic and personal endorsements of the 
tour of the Fabri’s Opera School furnished; 
Responsible chaperonage. 

Terms especially moderate this year by reason 
or favorable Exchange. 

ALL PLANS MUST BE COMPLETED BY MAY 1STH 
Address A. FRANCIS HASSE, Sec’ty of Mme. Fabri 
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New Easter Solo for 1922 

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Easter solos and duets with a convenient plan 


MARCH 1922 Page 20S 


Strangled with Red Tape 

By Mrs. John G. Allison 


I ° 1 

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Send for catalog 

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The fatal enemy of the club success is 
often red tape. 

Probably more clubs have come to an 
untimely end through this means t han 
through any other. 

Trace the history of any great organi¬ 
zation and you will find that it has been 
built up by some broad, enthusiastic, op¬ 
timistic self-sacrificing person or group 
of persons who have thought first of 
the good of the organization, and second¬ 
ly of their own importance or of their 
desire to “run things.” This is particu¬ 
larly true of musical clubs. 

Enter the small, mincing individual with 
a code of parliamentary laws under her 
arm and a determination that discipline 
of the members shall always stand above 
the spirit of the organization and before 
long the life of the club begins to show 
signs of “red tape strangulation.” 

Let me cite three actual cases which 
have come under the actual observation of 
the writer; 

Case I. A very prosperous music club 
of women in a large American city. De¬ 
lightful programs were given, fine study 
courses held, and everything was done to 
make things agreeable for the members. 
Enter a very ambitious lady, with a strong 
and devoted love for everything that 
might, in her opinion, place her in a posi¬ 
tion of dominance, so that all others would 
have to kneel to her. - This she set out to 
accomplish with the customary parliamen¬ 
tary red tape; the first loop of which was 
that all members who arrived late would 
be fined. By means of a great many 
frowns and a great deal of cheap bluster 
she got this regulation passed. It never 
seemed to occur to the members that only 
a few undesirables came late and that the 
real workers would give any amount of 
time and sacrifice to any club project. 
This regulation was followed by other 
disciplinary measures. The new leader 
was elected president. She proposed noth¬ 
ing constructive, nothing creative,—her 
whole policy was restrictive,—she was rich 
in ideas how to prevent people from doing 
certain things. Gradually she earned the 
nick-name of “the cop.” The real work¬ 
ers in the club decided to form another 


club under another progressive leader. 
The whole idea of the new club was to 
create enthusiastic cooperation. Cordiality 
and courtesy were the pass word.". That 
club has grown until it has one thousand 
members and a long waiting, list. The 
other club went down, down, down, until 
it reached the point of red tape strangula¬ 
tion. Then its members got rid of the 
strangler and the club commenced to grow. 
It now has over five hundred members 
and is doing splendid work. 

Case II. An old and staid society of 
professional musicians, About nine-tenths 
of the meetings were given over to reports 
as dry as coke and discussions, during 
which the members indulged, in the playful 
pastime of “rising to point of order” every 
five or ten minutes. It finally reduced its 
membership to about one score. A new 
board of officers was put in. They quiet¬ 
ly and' gently lost the spool of red tape 
known as the constitution and by-laws. 
The organization immediately grew until 
it has become one of the foremost of its 
kind in our country. Its meetings have 
been a constant source of delight to all. 

Case III. One of the largest organiza¬ 
tions of professional musicians in Amer¬ 
ica. For many years its meetings, din¬ 
ners and conventions were the talk of thc- 
musical world. An agressive combative 
group of men and women got into power 
The red tape which for years had been 
displaced by real work, real brotherly co¬ 
operation, real enthusiasm, was brought 
out. Meetings galore were held and the 
constitution and by-laws were written and 
re-written a dozen times,—always to give 
the new group more power. The garro- 
ters pulled the tape tighter and tighter. 
To-day the association is a corpse. The 
constitution and by-laws are there,—but 
nothing else. Requiescat in pace. 

Of course an organization needs a legis¬ 
lative back bone. - It must have a constitu¬ 
tion and by-laws. But when these are 
used merely to put the red tape of disci¬ 
pline in the hands of some natural born 
garroter, incapable of constructive or crea¬ 
tive work herself but anxious to dominate 
by fear—look out. Your whole organiza¬ 
tion is in danger. 


progress. 




TO DIRECTORS 

of CHURCH CHOIRS, GLEE CLUBS, WOMEN’S MUSICAL CLUBS 
LIBERTY AND COMMUNITY CHORUSES, etc. 

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Homely Hints 

By Ira M. Brown 

A successful student is made up of A little friendly ridicule from the 
ambition, pluck and perseverance. Care- teacher may .sometimes be the thing to 
lessness, and deficient reasoning powers ma k e you sit up and take notice. If she 
arp fatal tn —c= HnoA - flatterS < ? >, 7°“ ^ »***“« t0 the eIe ' 


The wonderful 
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By Mrs. John Neu 


when I think of v,«. k „ v „ 

sperity has meant to all of us. And. it all 
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ght us’with very little money on hand"'and 
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res I did not know until one day I happened 


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My Prosperity Began 

Immediately I wrote for the Profit Guide 
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right away for the Gearhart Standard 
tter, taking advantage of the splendid offer 
Company made me. That was my start. 

I Became Independent 


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Page 20k MARCH 1922 



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What They are Doing in 
California 

By Mrs. Cecil Frankel 

President of the California State Federation 
of Musical Clubs 

In looking over our State Clubs and 
summing up the achievements of many 
splendid Musical Organizations ini the 
California Federation of Music Clubs, it 
is impossible to point out any one out¬ 
standing feature, as each organization is 
quite individual and of such a varied 
character. However, I will say that one 
and all are awaking to their civic duty and 
realizing the necessity of impressing the 
city fathers and general public of the fact 
that Music is a civic asset. We have long 
been dormant in this respect. All must 
learn the real meaning and appreciation 
of the beauty of service . 

One of our clubs last year inaugurated 
a “Fellowship” which consists of some 
months work at Peterboro, N. H. and 
they have started their new season by 
establishing at their own club headquarters 
an Art Center for themselves and other or¬ 
ganizations. These two facts show a 
healthy progress. 

One of our Symphony Orchestras is 
sponsoring the $300.00 Prize for the 
Chamber Music Competition offered by 
the Federation. A Music Teachers’ Asso¬ 
ciation Branch started and contributed 
very generously to the Publishing Fund 
for this Prize Competition. 

Only through the farsightedness and 
energetic work of some of our Music 
Clubs in the smaller cities, has it been 
possible for the people of those commun¬ 
ities to have the privilege of hearing the 
great visiting Artists. 

Sunday Evening Programs 

One of the principal events of our 
1921 Convention was the Sunday Evening 
Program, featuring The Evolution of 
Church Music, which was made possible 
only through the interest and wonderful 
spirit of cooperation of one of our 
largest Choirs and assisting artists, for 
it meant many days of added rehearsals. 

Other clubs have emphasized the duty 
of the clubs paying for their programs, 
others have been emphasizing the engaging 
of our own California Artists. 

I only wish I might have the space to 
enumerate the fine work of each individual 
club and the progress they have been 
making toward the furtherance of this 
great art. 

Regarding our State Federation as an 
organization, we have felt that the pub¬ 
lishing of our monthly Bulletin was one 
of the greatest strides in efficiency, as it 
has brought each club member in closer 
association with the work we are trying 
to do. 

Through our County Directors we are 
able to get into direct communication with 
* “ music needs of each community and 
i the Public School Music 
- have we found this advan- 
Our County Directorships are 
not all filled, but we are making appoint¬ 
ments slowly, but surely! 

In closing, may I say that any success 
we may have enjoyed we must attribute 
to the loyal cooperation of every member 
of our State Board of Managers and the 
sincere interest of the Club Presidents and 
through them to the other members of 
our united family. 


m who would accompany well 
ast be the mother-tongue; tha 
ist understand music better that 
r of earth’s tongues, and be ; 
poet besides.—C arl Reinecke. 


THE ETUDE 

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MARCH 1922 Page 205 




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Page 206 MARCH 1922 


THE ETUDE 


FOR CARUSO WEEK 
Feb. 26th-Mar. 4th 

Naples Must Sing Forevermore 

A new song typically Neapolitan in character, by G. M. Curci, 
written as a tribute to the memory of Caruso and expressing the 
idea that Naples, despite her grief, must arise and true to her 
glorious traditions sing forevermore. 


ENDORSED AND SUNG BY 

Tito Schipa, Rosa Raisa, Giuseppe Danise, 
Benjamino Gigli, Giulio Crimi, Giovanni 
Martinelli and a host of other artists. 


ENGLISH AND NEAPOLITAN TEXTS 


Mr. Curci is one of the foremost vocal teachers in New York 
and because he understands the voice teachers are sure to find 
this song useful in their work. 


If your music dealer can’t supply you send 40 cents per copy to 

HINDS, HAYDEN & ELDREDGE, Inc., Publishers 

11-15 Union Square, West New York City 


Every Music Lover Should 


i a Copy of 


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By W. S. B. MATHEWS 
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From the beginning it holds the reader interestingly and imparts a wealth of 
knowledge as to the individualities of style and musical expression, as well as the 
influence exqrted, by the great .masters. Modern writers and the best American 
composers are also well represented. Thousands of students and music lovers have 
read this work. 

An Excellent Book for the use of Music Clubs 

THEODORE PRESSER CO. chestnut st. Philadelphia, Pa. 


Music Masters 


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music lovers; 


Old and New 

By JAMES FRANCIS COOKE 


I 'HIS collection of unique biographies is one that will be read with de- 
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nature, the charm of music itself are all included in the most fascinating 
manner. Best of all, the work takes in composers about whom very little 
is published in current works in America and about whom all active 
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one substantial listings in the index. 

This Work Has Been Prepared for Individual Reading and Self 
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Music Slogans for Music Clubs 

The slogan of the National Federation 
is: A Music Club in Every City, in Every 
County, in Every State in the ’ Union, 
and Junior Boys’ and Girls’ Clubs 
Auxiliary. 

This suggests that every music club 
possess a slogan. The Etude asked Mrs. 
F. S. Wardwell, Honorary President of 
the Stamford Music Club, President of 
the Empire District of the National Fed¬ 
eration of Music Clubs (New York, 
New Jersey, Connecticut), to prepare some 
which had been prompted by her work in 
connection with the musical clubs. She 
sends the following list: 

Music—the Ideal Recreation. 

Get acquainted with the Best Music. 

Know where Music Came From. 

Be able to name Three Composers of 
America, France, Russia, and hum the 
melodies of the Best Known Works. 

What Musical Books have you bought 
this year? 

To know music well, study everything 
connected with it. 

Following are other slogans: 

Music Makes the Mind Magnificent. 

A Dollar invested in Music Now May 
Mean a Fortune in Recreation and Inspi¬ 
ration Some Day. 

Buy the Best Music; Play the Best 
Music; Hear the Best Music. 

Great Psychologists Declare that Music 
is Unequaled by any other Study in De¬ 
veloping the Child Mind. 

If you can’t be a Master, be the best 
possible kind of an Amateur. 

Keep alert on the best Music of the 
Hour by subscribing for the Leading 
Musical Journals. 

Both Require Hard Work 

But music comes not through inspira¬ 
tion alone. Genius does involve infinite 
painstaking, hard work, diligent practice, 
or it gets nowhere. 

No one who knows the music of Tschai- 
kowsky can question his genius. He 

poser. Yet it is Tschaikowsky who has 
stated most clearly and strongly the vital 
part which steady faithfulness plays in 
artistic achievement. He has left on rec¬ 
ord his method of composition. He tells 
us that his best themes came to him in 
flashes of inspiration. Never did he pro¬ 
duce anything worth while save at such 
moments. But he tells us also that every 
day, with unfailing regularity, he went to 
his room and wrote music. Whether the 
mood was on him or not, whether the fire 
burned or he probed only ashes that gave 
out no spark, he kept at his work. Most 
of the music he wrote on the ordinary days 
was worthless, written only to find its way 
to the waste basket. Yet he tells us that 
that steady attention to his musical work 
was of priceless value. Not only did it 
help to perfect the skill with which crea¬ 
tive visions might be given shape when 
they should come, but it opened the way 
for the inspirations. He was convinced 
that much of his best work would never 
have come to light had he not, through 
steadfast faithfulness day by day, through 
the monotony of routine labor, been al¬ 
ways where the inspiration could find him 
ever watching for the precious moment 
when the soul would be set free through, 
some inspired theme or vision. 



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MARCH 1922 Page 207 


THE ETUDE 

Interesting Points About 
Sound 


By Ethel A. Moyer 

AH sound is produced by motion. 

Sound cannot be transmitted through a 
vacuum. 

Pitch depends upon the number of 
vibrations in a given time. 

The lowest note of a modern pipe-organ 
vibrates sixteen times per second. 

The highest pitch recognized by the 
average ear is produced by about forty 
thousand vibrations per second, the number 
in the chirp of the cricket. 

A musical sound is produced by regular 
vibrations of the transmitting body; while 
n&ise is produced by irregular vibrations. 

Doubling the number of vibrations raises 
the pitch one octave. 

The highest note of practical use in 
music is produced by- the last string of the 
harp with about two-thousand five-hundred 
afid thirty-five vibrations per second. 

The high C of the soprano (second line 
above the treble staff) has 1024 vibrations 
per S’ 


The 1 


i C of the bass singer (second 
• the bass staff) has sixty-four 
per second. 


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Page 208 MARCH 1922 

How They Handle the Club Situation in Iowa 

By Mrs. Louis Bernard Schmidt, President Iowa Federation of Music 

Music in Iowa, the land of “rolling Music clubs have so long been merely 
prairies” and “Where the Tall Corn consumers of art, that it is difficult for 

Grows,” (with apologies to the Shriners’ many to feel that they must drop their 

Convention, Des Moines, 1921), the land “exclusive pink tea atmosphere,” and rub 

where the vastness of the sky itself gives shoulders with the less socially favored, 

inspiration to poet and musician! Did not But it must be done if we are to carry 

Dvorak, once a resident of Spillville, forward the aims and ideals for which we 

Winneshiek county, Iowa, find such inspir- stand. I feel that our dubs are accepting 

ation for his New. World Symphony? their duty, and in towns where old and 

Then should not the Iowa Federation of established music clubs do not join the 

Music see visions and dream of Iowa’s Federation our organization must see to it 

place in the Musical World? that new clubs are formed and shift the 

The Iowa Federation has fifteen responsibility of carrying forward Iowa’s 

departments: Program, Young Artist musical standard upon the shoulders of 

Contest, Scholarship, Bands and Orches- a younger, wide-dwake generation. There 

tras, Community Music, Library Exten- are but few such cases. Our leading 

Whether vou are interested i • mus’e n r T r s ’ on ’ Course of Study, Public School Music, cities, like Davenport (which heads the 
the joy of playing, or as a meSis of additional in- 'Composition, State Artists, Legislative, list with nine Federated Music Clubs), 
you e 'lts e exd U sivffeam?e e s makV it* s™ f ?£ Fed . eration Magazine, State Extension, Des Moines, Waterloo, Cedar Rapids, 
master that you can learn a tune in one hour; play Junior and Juvenile Clubs, Printing and Clinton, Muscatine, Sioux City and others, 
Publicity. Each of these departments is are believers in the Federation’s Creed 
like that pictured above,’ are in demand for'ali under the immediate supervision of a and are filling their places as becomes 
side".°ot^whSe'timeTasymtchoifse! 1011 *^ "° nchairman and two assistants. Each de- Federated Music Clubs. The Rural Con- 
Free Trial, easy Payments on any Conn instru- P artmen t has a story all its own, but one solidated Schools, Rural Music teachers 

St? 1, «dnH^!, u ^ e f C i >n J'/ e ? ture a at no sreater department which has probably achieved and Rural Music Clubs vie with the clubs 

C0Py the mOSt is the “ Youn S Artist Contest,” of the cities in the federated music work, 
because of the large number of contestants It has been the privilege of the writer 
entered, the enthusiasm shown at these to give many talks on the “Value of Music 
state contests, the audiences they have in Everyday Life” before Woman’s Clubs, 
Conn Bldg., Elkhart, Ind. WdULMfflM attracted, and the general publicity these church societies, Parent-Teachers’ Asso- 
N zA-?, 0 "^Co.23i7 W.,47th points have given the Iowa Federation ciations as well as Music Clubs. I am 

of Music’s Work. The Junior Club de- convinced that the mass of people in Iowa 
partment has also attained notable success, are eager for good music, a little direction 
eighteen clubs now holding membership. and a little thought is all that is needed. 

The most unique attempt of our Federa- Mothers ask, invariably, if I really think 
tion is probably an attempt to bring about there is harm in jazz flaying; a reply 
“Competitive Band and Orchestra Con- which sets them thinking is “Do you have 
tests” between colleges and high schools, dime novels on your reading table? Do 
What greater good for individuals and you not realize the upper one-third of the 
music could result than such a movement? piano (referring to the music one finds on 
Imagine the enthusiasm which might top of the piano in many homes) in your 
result from such a contest between the home may reveal the character and stan- 
State University Band and the Iowa dards of your home?” 

State College Band! These rivals on the One of the most interesting groups it 
football field could well be rivals in an has been my pleasure to address was a 
“out play” of music. Immediately emu- rural consolidated school in May of this 
lation would be fostered in high schools year (just corn planting time, too) when 
of the State. One philanthropically in- one hundred and seventy-five persons 
dined person gave $1000 for the purpose of actually left the joys of a May evening 
band instruments to the high school of his and listened to an hour’s talk on music. 
town - Many of these rural consolidated schools 

» That the Iowa Federation of Music has are asking the Federation to furnish them 
accomplished much good by stimulating a artists for programs. But it is rather a 

desire for better entertainment is best problem to get the “artists” to see that 

evidenced by the fact that in one small they have any obligations in filling these 
town of seven hundred persons the Sunday engagements; consequently we are almost 
afternoon “community sing” has during the at a standstill in filling these requests I 
summer months drawn crowds of 3,000 think this will be overcome as artists 
people for this social “festa,” based realize for what we are working and that 

on music. it may be better to be “starred” in some 

In another small town twenty young of the smaller towns and rural commun- 
men, lovers of music and better entertain- ities than “starved” in a city attic, for 
ment, have organized a music club which Iowa’s farming communities are rich and 
has made their little group an influence can and will pay for good thipgs even 
for community good. The old time in music. 

“Singin’ Skule” of Iowa’s pioneer days, The Iowa Federation of Music is wax- 
with its democracy and brotherly love, ing strong. From January first, 1921 
lives again in our community music, to June first, twenty-nine music clubs 
Many counties have Federated County alone took membership. Is that not proof 
Musical Associations with a County Chair- enough of the influence being felt? Truly 
man in charge. the foundation of a musical monument 

The greatest need of our Iowa clubs is is being laid in Iowj by the Federation 
cooperation with other organizations, of Music Clubs. 

War Musicians 

Fortunately for the cause of musical England, and even French violinists appear 
art, the bitterness, caused by the world war, i n Germany. Fritz Kreisler, who was a 
which prevented many eminent violinists capta ’ n ™ the Austrian army, and who 
from appearing in enemy countries, has took actual part for a time in the fighting 
almost completely subsided. German and f* T e , ront ’ rece . ndy gaye three concerts 
AuStHan vi°hnists are now welcomed in received wi/thTut^t enthnslU^ 


THE ETUL 



PIANO JAZZ 


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PRACTICAL COMPOSITION LESSOh 

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Study with the Author of 
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Take a course which can be used with your own pupi 
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E ETUDE when addressing our advertisers. 


the etude 


MARCH 1922 Page 209 


SCHIRMER’S EDUCATIONAL MUSIC ADVERTISEMENTS, No. 2 



Master Series 
For the Young 

For Piano In Twelve Volumes 



Beethoven 


Selected and Edited by EDWIN HUGHES With Biographical Sketches by CARL ENGEL 


Vol. 1—BACH 
Vol. 2—HANDEL 
Vol. 3—HAYDN 


Vol. 4—MOZART 
Vol. 5—BEETHOVEN 
Vol. 6—SCHUBERT 


Vol. 7—WEBER 

Vol. 8—MENDELSSOHN 

Vol. 9—SCHUMANN 


Vol. 10—CHOPIN 
Vol. 11—GRIEG 
Vol. 12—TSCHAIKOWSKY 


trice. Per Volume, 75 cents, net 



Chopin 


1V/TANY of the most interesting, playable, and attractive pieces written by the master composers 
for the piano are united in the books of this series. And in each the informally informative 
biography by Carl Engel is a real feature. Technically they are in each case the easiest numbers 
the great creators of pianoforte music have produced: musically they are among the most enjoyable, 
the most direct. From Bach and Handel to Grieg and Tschaikowsky, every number is an original 
piano piece—there are no “arrangements” from operas, symphonies, string quartets, etc. Edited 
and fingered from a modern standpoint, progressively arranged with regard to difficulty, this unique 
series has been issued specially to meet the needs of the young pianist. Yet, beyond all question, 
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equipment) if not in years, who welcome these volumes. 


If unable to procure from your local dealer, advise us 


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Because we have published the finest, most progressive, most 
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We are therefore offering to send you, without any charge, a copy 
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ETUDE ORDER BLANK —Cut Out and Mail 

Date ------ ' -:«* 

OLIVER DITSON COMPANY 

BOSTON, MASSACHUSETTS 

I am a Piano Teacher and have never used The Music Students 
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Page 210 MARCH 1922 


THE ETUDE' 



NEW WORKS. 

Advance of Publication Offers — 
March, 1922 Bp 'wc° ff ' r 

Brahms’ Album . $0.75 

Broekhoven’s Harmony. 

Carnaval Mignon—Schutt. 

Casse Noisette (Nutcracker) Suite— 

Tschaikowsky . 

Child’s First Book of Melodies—Honska 

Child’s Play—Tompkins . 

Choir Collection—Pike. 

Class Method for the Violin—Oscar J. 


separated not only geographically, but 
also in matters of personal adherence to 
this or that branch of musical activity. 
To all these persons, no matter where lo¬ 
cated, the speed with which an order is 
executed is often a matter of prime im¬ 
portance. Our present working organiza¬ 
tion, trained for years and constantly en¬ 
larged (never yet diminished), is always 
alert and ready to give quick and help¬ 
ful service to our customers. It is easy 
to begin trading with us and 


Evangelistic Piano Playing—Schuler.. 

Granberry’s Writing Book. 

"Green Timber” Songs—Lieurance.... 

Kindergarten Book—Bilbro . 

Original Four Hand Pieces. 

Preparatory School to Bach—Liftl.... 

School of the Pianoforte, Vol. Ill— 

Theodore Presser . 

Secrets of the Success of Great Musi¬ 
cians— Pirani . 

Short Melodious Exercises in Touch and 

Tone—Corbett. 

Technical Exercises for the Violin—H. 

Transcriptions for Organ—Stewart... .' 

Violin Studies—Kreutzer . 

Young Folks’ Folio of Piano Music.. . 

Easter 

Music 

Your Easter Program? 

Is it to be a cantata or special service 
of anthems and solos with appropriate 
organ selections? We are prepared to 
help you select an Easter program. 

Among the new anthems issued this 
year are Thanks Be to God, by Ambrose. 
Glory Crowns The Victor’s Brow, by 
Stults. Christ■ is Risen, by Sheppard. 
Christ is Risen from the Dead, by Mor¬ 
rison. The new Easter solo— Christ, The 
Lord is Risen To-day, by Harry C. Jor¬ 
dan is an excellent number. The Great¬ 
est Love, Immortality, The Dawn of The 
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We will gladly send you for examina¬ 
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state your needs—the size of .your choir— 
the grade of difficulty desired—the best 
voices you have for incidental solos. 

Allow us to suggest suitable organ 
numbers for this festal day. 

Prompt Mail Order Service 
to Music Buyers 

The experience of this house during the 
past year of more or less wide-spread 
business, depression has been most satis¬ 
factory in respect to the amount of busi¬ 
ness transacted. In fact, it was a sur¬ 
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should be the case when there has been 
so much complaint about business condi¬ 
tions might be hard to answer, were it not 
for our well-observed policy to give our 
Customers the promptest service possible, 
a service that keeps old customers and 
brings new ones in ever-increasing num¬ 
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promptness alone would give complete 
Satisfaction, there are other equally im¬ 
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making loyal customers; these are chiefly 
careful and intelligent handling of orders, 
the ability to supply virtually every 
worthy item in music publications, a real 
consideration for a customer’s interests, 
adherence to economical price standards 
and courtesy always. These are all val¬ 
uable assets in a business establishment 
that undertakes to encompass the require¬ 
ments of thousands of individuals widely 


Buying Phonographs 
and Records by Mail 

By closely studying the requirements of 
the owners of Talking Machines we have 
succeeded in organizing and perfecting a 
Service adapted to handling promptly and 
efficiently Mail Orders for VICTOR and 
BRUNSWICK RECORDS. This service 
costs you nothing. Take advantage of the 
reduced prices we can now offer—only 75 
cents for 85 cent records and $1.25 for 
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All records are packed carefully and 
mailed via Parcel Post. We guarantee de¬ 
livery of the Records in perfect condition. 
If your order amounts to $3.50 or over 
we will prepay the mailing charges; on 
orders of less amounts shipping charges 
are ten cents. 

You, as well as many others of our 
Etude friends, have no doubt felt the dis¬ 
appointment of being unable to secure a 
record played at the home of a friend, 
or one which, because of the popularity of 
the artist, always has been “out of stock” 
when you have sought it elsewhere. 

How pleased you would be if you knew 
that on our shelves we may have the very 
Victor or Brunswick Record you have 
been trying so hard to secure. It will 
only cost you a few minutes of your time 
and a postage stamp to write to us about 
it or any other record in which you are 
interested. Our close proximity to the 
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keep our Record stock complete, places 
us in a position to help you add many 
desirable records to your Record Library. 

< If you are not already the owner of a 
Victrola or a Brunswick Phonograph let 
us tell you how easily you can own one 
of these standard makes of talking ma¬ 
chines, which are priced $25.00 to $300.00, 
and which we will sell you on such liberal 
terms that the small amount paid each 
month will be forgotten when the pleas¬ 
ures derived from the Victrola or Bruns¬ 
wick Phonograph you purchased are con¬ 
sidered. You are invited to write for 
further particulars about any records or 
any instrument in which you are inter¬ 
ested. 

Choir Collection 
By Harry Hale Pike 

This Choir Collection of Anthems, by 
Harry Hale Pike, will include the choicest 
and most serviceable of his later writings. 
Above the ordinary material for choir 
use, these anthems are not too difficult to 
appeal to the average volunteer body of 
singers. Morning and evening anthems 
are included in this collection. The inci¬ 
dental solos are very short and may be 
done in unison, thereby affording the di¬ 
rector a number of anthems practically 
without solos. 

Our advance of publication cash price is 
20 cents, postpaid. 


Granberry’s 
Writing Book 

“Writing makes a deep and thorough 
man” and one cannot have pupils do too 
much along this line. Lack of understand¬ 
ing is largely the cause of slow and in¬ 
correct sight reading by many of our 
players. There is no better way to obtain 
accuracy than by writing, and the reason 
there are so many poor sight readers is 
that we are not accurate in what we do, a 
fault that writing helps to correct. The 
aim of this book primarily is to assist in 
sight reading. Mr. Granberry, the 
author, who is one of the leading educa¬ 
tors of the day, treats the subject in a 
little more advanced way than the usual 
elementary writing book. The material is 
presented in a very clear, direct and log¬ 
ical manner and there are many new feat¬ 
ures in the book that will be interesting 
to teachers. The volume is to be used in 
connection with the regular lessons, either 
vocal or instrumental, and the assigning 
of the work is to be systematically car¬ 
ried on. It only takes a few moments 
time to examine and correct the work. 
This hook is one that will be taken up by 
our very best educators and we take great 
pleasure in recommending it to our read- 

The special advance price will be but 
25 cents, postpaid. 

A Hand Book 
of Organ Music 

Every organist, whether playing in a 
church or in a moving picture house, will 
find something of direct interest in the 
latest edition of our “Hand Book of Or¬ 
gan Music.” The “Hand Book” is really 
a fully classified catalog of organ music 
of all kinds, both in sheet and book form, 
and is designed to afford the utmost as¬ 
sistance to those who wish to select suit¬ 
able material of this kind. The present 
day demand for organ music of a practical 
character, combining both dignity and 
general effectiveness, is amply provided 
for in this splendid “Hand Book,” which 
will be mailed free to any organist or 
music director on request. 

Carnaval Mignon 
By Ed. Schutt 

Edouard Schutt has made many sub¬ 
stantial additions to the literature of mod¬ 
ern pianoforte music. Coupled with a rare 
sense of the tonal possibilities of the in¬ 
strument he displays a fine ingenuity in 
the invention of appropriate passage work 
lying well under the hands and fingers. 
These gifts are admirably displayed in 
his popular suite, the Carnaval Mignon. 

In this work one finds modern harmonies 
and modern passages but without affecta¬ 
tion or extravagance. The music is both 
melodious and colorful, just the sort of 
thing one likes to play. Our new edition 
of this work will be ready in a short time. 

It will prove satisfactory in all respects. 

Our special introductory price in ad¬ 
vance of publication is 40 cents, postpaid. 

Violin Studies 
By R. Kreutzer 

These studies are now in press and the 
first edition will he ready in a very short 
time. . Kreutzer, the friend of Beethoven, 
was himself a great violinist. His studies 
are monumental and their appearance set 
a certain standard in violin playing. 
Nothing exactly like them has been writ¬ 
ten before or since. Our new edition has 
been edited with great care by Mr. Fred¬ 
erick Hahn, all previous editions having 
been diligently compared. . 

The special introductory price in ad¬ 
vance of publication is 40 cents postpaid. 

Transcriptions for the Organ 
By Humphrey J. Stewart 

In this work the busy organist will find 
desirable new material. There are tran¬ 
scriptions of many pieces which have never 
before been arranged for the organ. These 
are pieces such as audiences enjoy hearing, 
all of the numbers having been used with 
great success by Dr. Stewart in his own 
recitals. They are of moderate length and 
of intermediate difficulty. AH of the 
numbers are suitable for recital work, 
many of them may be played in church 
and a number are adapted for picture ' 
playing. 

The special introductory price in ad¬ 
vance of publication is 75 'cents, postpaid. 


“Green Timber”—Songs 
By Thurlow Lieurance 

A Cycle of Songs of the Wilds of the 
West. 

Near to nature’s heart, Mr. Lieurance 
has caught the breath of the pines, the 
blue of the sky, the glint of the sun, the 
rush of the brook and the roar of the 
great falls. He has clothed with his ori¬ 
ginal and colorful music the strong, 
sturdy texts of Charles O. Roos and the 
pulse and thrill of the great out-doors is 
felt throughout this remarkable cycle of 
songs. 

Few writers have charmed the singing 
voice with such melodies as come from 
this gifted composer and the subject mat¬ 
ter of the texts holds undivided the at¬ 
tention of the hearers. 

The advance of publication price is 50 
cents. 

Casse-Noisette Suite 
(“Nutcracker”) for Plano Solo 
By Tschaikowsky, Op. 71 

The more one hears of the music of 
Tschaikowsky the more one realizes what 
a giant he was. His music is picturesque 
and fuU of color, rich in melody and surg¬ 
ing with emotion. It is typical of the 
reaUy great minds in music, that nothing 
is too small to engage their attention. 
Witness, for instance, Tschaikowsky’s Op. 
39, Album for the Young. In the Nut¬ 
cracker Suite he tells a fairy story and 
tells it charmingly. As arranged for the 
piano this suite is not too difficult for the 
player of average ability and its study 
will afford many happy hours. The pop¬ 
ular Waltz of the Flowers is typical of 
the general excellence of the entire suite. 

The special introductory price in ad¬ 
vance of publication is 40 cents, postpaid. 

Broekhoven’s 

Harmony 

This work has come into our possession 
through another publisher. It is one of 
the few American works that has been 
used as a text-book in France. The book 
has gone through many editions in this 
country and also has been used i I- 

book in the Cincinnati College of Music 
for some years. In this new edition there 
is additional material .that greatly en¬ 
hances the value of the volume. The spe¬ 
cial offer on the work will remain open 
for a short time and we advise all that 
have anything to do with theory to pur¬ 
chase at least one copy of the book as it 
is always weU to have several views of 
this subject and to compare one with the 
other. 

Our special advance price is but 60 
cents, postpaid. 

Technical Exercises 

for the Violin 

By H. van den Beemt 

There are certain exercises which are 
necessary for the violinist to practice 
daily in order to keep the left hand in 
trim. In this work Mr. van den Beemt 
has compiled and set forth the necessary 
material in a logical and practical man¬ 
ner. Especial attention is given to finger 
exercises, scales in a)l keys, arpeggios and 
also to exercises in shifting and in the 
various positions. 

The special introductory price in ad¬ 
vance of pubHcation is 35 cents, postpaid. 

Player’s Book, 

School of the Pianoforte, Vol. Ill 
By Theod ore Presser 

4 As mentioned last month, it will be some 
time before this work is ready for the 
press, this means that it will remain on 
special offer at a greatly reduced price 
until Mr. Presser has finished his work. 
At the present time he is on his mid¬ 
winter vacation in California. The work 
i$ slowly progressing, however, and it is 
hoped that it will be finished in the early 
spring or summer. In the meantime we 
ask the indulgence of those who order in 
advance of publication. This work will 
be a continuation of the two other books 
which have been such a pronounced suc¬ 
cess. 

1 Our special advance price for the work 
is but 25 cents, postpaid. 


MARCH 1922 


the etude 

Young Folks’ Folio 
of Piano Music 

In this volume we have aimed at pop7 
ularity first of all. It is such a volume 
as should be on the piano in every home. 
It contains the very best of our publica¬ 
tions along tlie rather easy line, nothing 
in the whole volume is above the third 
grade. The volume is intended for pleas¬ 
ure pure and simple; there are no techni¬ 
cal difficulties in any of the pieces. We 
predict a wide popularity for the volume. 
A few duets have been added at the back 
of the book for variety, and there is not a 
dull piece in the whole volume. You will 
not be disappointed in ordering this work, 
as it is just what the name suggests, a 
volume to use in the evening when the 
young people gather ’round the piano. 

Our special price is very low; we will 
send the volume for only 30 cents, post¬ 
paid. 

Evangelistic Piano Playing 
By George Schuler 

This work has gone to press hut the 
special introductory offer will be con¬ 
tinued during the current month. There 
are many occasions upon which it is "ne¬ 
cessary to accompany hymn singing on 
the piano. Those pianists who are wont 
to assist the public evangelists in their 
meetings have in many cases shown great 
aptitude for this work. Mr. Schuler in his 
new book attempts to show how this is 
done and tells in a practical manner how 
the student should go about it in order to 
become proficient in these methods. After 
the usual technical preliminaries and de¬ 
tailing of methods, the book closes with a 
number of well-known hymns, completely 
arranged according to the writers previous 
prescriptions. 

The special introductory price in ad¬ 
vance of publication is 50 cents, postpaid. 

Original 

Four-hand Pieces 

This work is now about ready, but the 
special introductory offer will be continued 
during the current month. In this com¬ 
pilation will be found the real gems from 
the works of those writers who have given 
special attention to the writing of original 
music for four-hands. There are no ar¬ 
rangements in the book. Classic and mod¬ 
ern writers are represented, beginning 
with Schubert and ending with Mac- 
Dowell. The pieces range in difficulty 
from grades four to seven. Nothing bet¬ 
ter in the line of four-hand music can be 

The special introductory price in ad¬ 
vance of publication is 60 cents, postpaid. 

Short Melodious Exercises 
in Touch and Tone 
By Ave Corbett 

There is always room on the teacher’s 
list for additional second grade studies. 
One tires of teaching the same things all 
of the time and students, too, are greatly 
helped by variety. The new studies by 
Corbett are short and tuneful and are 
well thought out. They will prove benefi¬ 
cial from the technical standpoint and 
they will also tend toward musicianship. 
They start quite simply and advance by 
gradual stages through five-finger work, 
scales, chords, arpeggios, etc. 

The special introductory price in ad¬ 
vance of publication is 35 cents, postpaid. 

Preparatory School to Bach 
By Franz Liftl 

There is a steadily increasing interest 
in the curriculum of study in contrapuntal 
work. Along this line we wiH publish a 
work by one of the best European educa¬ 
tors which wiU be a Preparatory School 
to Bach. Sooner or later every pupil must 
have a training along contrapuntal lines 
and this work makes a very good begin¬ 
ning. There is a great variety of material 
in this little volume, almost a dozen com¬ 
posers being represented, going back to 
the 17th century. If you have not taken 
up contrapuntal study with one of your 
best pupils we are sure you will be de¬ 
lighted with the results. Why not order a 
copy of this work while it is still on spe¬ 
cial offer? 

, Our special price in advance of publica- 
tion is but 35 cents, postpaid. 


Secrets of the Success 
of Great Musicians 
By Eugenio Pirani 

This optimistic, stimulating, series of 
biographies of famous musicians is made 
especially interesting since, in the case 
of many of the modern music workers, 
the author, Eugenio Pirani, has known 
the masters personally. Himself a noted 
pianist and composer, he has had an in¬ 
sight to the lives of his subjects which is 
very clear and helpful. The book covers 
the lives of practically all of the great 
masters, one chapter being devoted to 
each. 

Mr. Pirani, whose name has heretofore 
appeared as Commendatore di Pirani, de¬ 
sires us to change this, writing that, since 
he is an American citizen, and has been 
for some time, he deems it best to dispense 
with the prefix indicating his distinguished 
birth, and also with other distinctions, 
much appreciated, but not in keeping, he 
feels, with the simplicity of our democ¬ 
racy. 

We are sure that our patrons will be 
glad to possess a copy of this unusuai 
book. 

The special advance of publication price 
is 75 cents. 

Brahms’ Album for 
the Pianoforte 

Among the more earnest students and 
players the pianoforte music of Brahms 
is becoming more and more cultivated. 
Contrary to the opinion held by many, the 
music of this master is neither dry or ab¬ 
struse. On the other hand, it is full of 
melody and of harmonic subtleties. Our 
new Brahms’ Album wiU contain all of 
the most popular numbers, including the 
splendid Sonata in F minor, the Scherzo 
in E flat minor, the Variations upon a 
Hungarian Theme, together with Op. 39, 
Op. 10, Op. 76 and Op. 79, all complete. 
Among these latter will be found the 
Waltzes, the Ballade in I) minor, the Cap- 
riccio in B minor, the Rhapsody in G 
minor. The entire work has been revised 
and edited by Mr. Louis Oesterle, the well- 
known authority. 

The special introductory price in ad¬ 
vance of publication is 75 cents, postpaid. 

Child’s First Book of Melodies 
By W. E. Honska 

The demand for study material for be¬ 
ginners, and especially for very young 
beginners, is ceaseless. Through the ef¬ 
forts of many earnest and experienced 
writers of the present day, suitable teach¬ 
ing material is being produced which will 
serve to attract and to stimulate the very 
youngest beginners. Honska’s Eirst Book 
of Melodies starts with a single tone al¬ 
ternating between the hands, then in the 
next exercise adds one more tone and in 
another exercise adds still another tone, 
and so on. Many teachers will be inter¬ 
ested to know that this book employs both 
the Treble and Bass Clefs from the start. 
While the child is playing these elemen¬ 
tary melodies there is a harmonic back¬ 
ground for them which is played by the 
teacher. All of the little studies have 
appropriate texts. 

The special introductory price in ad¬ 
vance of publication is 30 cents, postpaid. 

Class Method for the Violin 
By Oscar J. Lehrer 

To teach the violin satisfactorily in 
classes, one must have a method especially 
written for the purpose. In Mr. Lehrer’s 
new book the author deems it desirable 
that the students learn independent play¬ 
ing from the beginning. To this end the 
exercises are all written in three parts; 
the class is supposed to be divided into 
three sections, each section being able to 
play every part. As this three-part har¬ 
mony is complete in every case, the piano 
may be dispensed with entirely. It is 
best that students do not learn to place 
too much dependence upon a piano ac¬ 
companiment. In using this work the 
teacher may face his class, baton in hand, 
and thus be enabled to observe and to cor¬ 
rect errors the more readily. This method 
is complete in itself or it may be used in 
coni unction with any instruction book. 

The special introductory price in ad¬ 
vance of publication is 50 cents, postpaid. 


'Kindergarten Book 
By Mathilde Bilbro 

We are pleased to announce the coming 
publication of a Kindergarten Book by 
this very popular composer. We know of 
no one better equipped to do this work 
than Miss Bilbro, who has had extensive 
experience in elementary teaching. The 
book is intended for the very first instruc¬ 
tion with small children, in fact, it can be 
used in the kindergarten. Most of the 
selections have words which gives them 
additional interest for young children. It 
is an up-to-date and pleasing book that 
will fit in very well with education of the 
present day and we predict for the volume 
a very successful career. 

Our special advance price is but 50 
cents, postpaid. 

Child’s Play—Ten Little Pieces 
By George Tompkins 

One of the most difficult things in com¬ 
position is to write pleasing and musi 
cianly easy music. It takes a good musi 
dan to write this kind of music for chil¬ 
dren. There is so much “wishy-washy” 
stuff issued by the writers of the day that 
has no substance to it, that it is a pleas¬ 
ure to come across something that is really 
good. In this case the writer knows what 
he is about, he has a thorough command, 
of the subject. It seems strange that no 
one has equalled the “Album for the 
Young,” by Schumann; the “Album for 
the Young,” by Tschaikowsky and some 
Mendelssohn's “Songs Without Words” 
also fall in this line. The really good 
music for children is written by the mas¬ 
ters. These “Ten Little Pieces” are good, 
first of all. A number of the pieces have 
words and are- written in three and four 

Yon will not go amiss in ordering a copy 
of this book, the price of which, in ad¬ 
vance of publication, is but 30 cents, post- 

Work Offered 
Advance of Publication 
Special Price Withdrawn 

The foUowing work has appeared from 
the press during the past month and after 
the publication of this issue can no longer 
be obtained at the special offer in advance 
of publication. Teachers may secure a 
copy for examination at our usual liberal 
professional rate of discount: 

Twelve Well-known Nursery Rhymes, 
by M. Greenwald. This work gives the 
rhymes complete with words and music 
in such a manner that they may either be 
played or sung and in addition, gives 
full instructions for their acting out by a 
group of children, together with an ap¬ 
propriate illustration of each. Retail 
price, 75 cents. 

The Etude Reward Offer for 
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Lest You Forget— 

A gold watch of standard make to every 
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tions between February 1st and April 30, 
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The incomparable Grove’s Dictionary of 
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And last, but not least, a sapphire-pearl 
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Page 212 MARCH 1922 


THE 



A RB you satisfied with your out¬ 
look in the profession—don’t 
you feel that you could estab¬ 
lish yourself in a position of greater 
responsibility and incidentally enjoy 
a better financial future if you spent 
a little time on brushing up your own 
knowledge? 

An ounce of proof is worth a pound 
of promise. Making claims is easy— 

“making good” is the real test of 
merit. Many readers of The Etude 
—teachers and students, have been 
greatly benefited by our courses— 

others have seen our announcement in this publication for years, but 
as yet have no direct personal knowledge of the 


Sherwood Piano Lessons 
for Students 

Contain complete, explicit instruction on every phase of piano playing. 
No stone has been left unturned to make this absolutely perfect. It would 
surprise you to know that Sherwood devoted to each lesson enough time to 
earn at least $100.00 in teaching. It is possible for you to get all this 
time and energy for almost nothing, compared to what it cost. The lessons 
are illustrated with life-like photographs of Sherwood at the piano. They 
are given with weekly examination papers. 


Sherwood Normal Lessons 
for Piano Teachers 

Contain the fundamental principles of successful teaching—the vital 
principles—the big things in touch, technic, melody, phrasing, rhythm, 
tone production, interpretation and expression—a complete set of physical 
exercises for developing, strengthening and training the muscles of the 
fingers, hands, wrists, aims and body, fully explained, illustrated and made 
clear by photographs, diagrams and drawings. 


Harmony 

A knowledge of Harmony is necessary for every student and 
teacher. You can study the Harmony Course prepared especially 
for us by Adolph Rosenbecker, former Soloist and Conductor, pupil 
of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ 
ductor and Teacher. You need Harmony and this is your chance to 
study the subject thoroughly. 


Harmony Teaches You to 


1. Analyze Music, thus enabling 
you to determine the key of any 
composition and its various har¬ 
monic progressions. 

2. Transpose at sight more easily 
accompaniments which you may be 
called upon to play. 

3. Harmonize Melodies correctly 
and arrange music for bands and 
orchestras. 


4. Detect Wrong Notes and faulty 
progressions in printed music or 
during the performance of a com¬ 
position. 

5. Memorize Rapidly, one of the 
very greatest benefits derived from 
the study of Harmony. 

6. Substitute other notes when for 
any reason the ones written are 
inconvenient to play. 


Unprecedented Special Offer l 

Will you take advantage of our offer of 6 lessons which we offer 
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University Extension Conservatory 

A161 Siegel-Myers Bldg. Chicago, Ill. 



feta* 

ifetr 

A Selected List of Anthems, 
Cantatas, Solos, Duets and 
Suitable Pipe Organ Numbers 



BRILLIANT EASTER ANTHEMS 

10999 All Hail the Glorious Morn. 


15626 As It B 
6085 As It Began t 

it : L B T^ 

We Sing. 

10513 Awake! Glad 
10910 Awake, Thou 

10033 Behold, I She 
10009 Behold, I She 
10920 Break Forth ' 
10472 Christ is Rise: 
10475 Christ is Rise 
20143 Christ is Risei 
10221 Christ is Rise: 
20128 Christ is Risen 

10984 Christ is Rise 


eluia. Alleluia! ....Stults 
d When the Sabbath Was 

with Violin)... Jones 


R. W. Martin 
3 Dawn.Norris 
3 Dawn..Stults 
s High Feast 


Joy. .Dale 
. .Brackett 


... Sh’eppard 


18120 Christ the Lord is Risen To¬ 
day (Med.). .H. C. Jordan 
6086 Christ Our Passover.Shackley 

10656 Come Ye* Faithful*.'Percippe 
10601 Death is Swallowed Up. 

Marks 

20017 Easter Day.Berwald 

10237 Easter Even.Bohannan 

10114 Easter Triumph.Brackett 

15507 Glorious Morn, The ...Tones 
10391 Glorious Mom... 

20126 Glory Crowns t 


: Victor’s 

crow .Stults 

10163 Glory, O God....... Brackett 


10487 God Hatl 
20024 God Hath Sent His 
10903 Hail! Festal Day.. . 




10802 He 
6295 Hi 
10111 Hi 




Was 


icified... 


Calm and Bea 
10390 X Know that My Rs 
10629 Jesus Christ 
10653 Lift Your Glad Vc 
10242 Lord, My God.. 


Brackett 

Neidlinger 


:e Hues. 


Nov 


s Christ Rise 


10115 _ _, 

15595 The Resurrection . . 
15598 The Risen Lord.... 
6025 Sing. Gladly Sing. . 
20018 Sing with All the 
Glory. (New).... 


Sing, Ye Hea- 


10801 Song of Triumph.. .Morrison 
20149 Thanks be to God..Ambrose 
JJJ5Z5 Thanks Be to God. Hotchkiss 
10874 Thanks Be to God . .Lansing 
10120 Thanks Be to God.Marchant 


10389 Triumphant Lord.. . 
10063 Welcome, Happy M 

15682 Welcome, Happy M 
10309 Why Seek Ye 


•ack'ett 


Living. 

Eastham 

WOMEN’S VOICES 

10803 Alleluia, Alleluia! (Three 


.12 


Granier 

MEN’S VOICES 

Alleluia, Alleluia!.. .Brander 
Behold, 1 Shew You...Solly 


10241 Christ is Rise 


Minshall-Nevin .10 


Brackett ,1( 

UPLIFTING EASTER SOLOS 

12948 Christ Hath Risen. High 

(Violin Ob.) .Rockwell fif 

14798 Christ the Lord is Risen. 

Med.Delafield 

12530 Christ’s Victory. High. 


8924 Come Ye Faithful. Med. 

Minetti 

12534 Death is Vanquished. High. 

Neidlinger 

12535 . Med. 

16162 Easter Dawn. Med....Scott 

12721 Easter Trumph. High.Shelley 

12722 “ “ Med. “ 

5330 Glory to God. High..Rotoli 

5321 . Med... “ 

6362 “ “ “ Low.. . “ 

8046 Hail Glorious Morn. Violin 

Ob. High .fieibel 

8047 Hail Glorious Morn. Violin 

Ob. Low.Geibcl 

12748 Hail Thou Risen One. High. 

Ward-Stevetis 

12749 Hail Thou Rise ‘ 


Ward-Stevens 
: Risen Lord. 


6891 Hail 

Hi 

8077 In tl 

8078 In the Dawn of Early’ Morn¬ 

ing. Low.Shackley 

5337 Lord is Risen. High^ 

6372 Lord’ is Risen. ' 

Ob. Lansinc 

8061 Light of Hope. High. .Geibel 

8062 . 




Life 

Resurrection Song. 

Risen Lord. High... 

“ “ Low.... 

Sing. O Sing. Med. 

Sing With All the S 
Glory. Low. 


nd Glory. 
Clark 


4715 Voice 
5202 


Jacket, 
t. High. 

•Stults 
Low. Stults 


EASTER DUETS 

ist Victorious. (Alt. a 


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MARCH 1922 Page 218 


THE etude 

How to Arrange for a Small Orchestra 


By Edwin Hall-Pierce 


Part IX 

Editor’s Note.-Thousands of musicians and music lovers want to know more 
about the orchestra, particularly the small orchestra. The vast attention being 
given to orchestras in public schools and high schools has prompted us to publish 
the fol owing article, the first of a series wh.ch will run for several months Mr 
Pierce, former Assistant Editor of The Etude has had long practical experience 
in this subject and has conducted many small orchestras. He explains everything 
in such a simple manner that anyone with application should be able to understand 
his suggestions without difficulty. “The Etude” does not attempt to conduct a 
correspondence in any study but short inquiries of readers interested in this series 
will be answered when possible. 


The Oboe or Hautbois 

This beautiful but difficult instrument 
has some tonal affinity with the clarinet, 
yet is unmistakably different as is a brun¬ 
ette from a blonde. It has a tone capable 
of great tenderness and pathos; yet with 
a sort of cutting edge which makes it be 
heard even among louder instruments. It 
blends well in chords or duet-passages 
with the flute or the clarinet, but (unlike 
the clarinet) is totally unsuited to any 
form of accompaniment-figure, such as 
broken chords,' arpeggios, repeated notes, 
or the like. Its best use is for solo pas¬ 
sages or short fragments of counter¬ 
melody, and it should have frequent rests. 
It can double the violin at the unison with 
good effect. Unlike the flute and the clar¬ 
inet, it is loudest at the bottom instead of 
the top, though its highest notes have a 
pointed and piercing quality. Its compass 

EX. 1 (,«► 

It is not a transposing instrument, hut 
plays the notes as written. 

The Bassoon or Fagotto 

This odd-shaped wooden instrument is 
the natural bass to the oboe. It has a com¬ 
pass from 

Ex. 3 ! = 

(>T» 



nal) will be two lines higher, and every 
note that is on a space will be two spaces 
higher. 

The extreme compass of the horn is 
great, but there are few players who can 
play both the very high and the very low 
notes. Some can do one, some the other, 
hence it will be safe to confine yourself to 
a rather narrow compass, as here sug¬ 
gested. 



The horn is a beautiful solo instrument, 
but its most valuable and constant use in 
the orchestra is in filling in either sus¬ 
tained or short chords to enrich the har¬ 
mony. Like the cornets, the first and 
second horns are usually written on the 
same staff. Where you have only two 
horns and wish three-part harmony, re¬ 
member that the lower tones of the clari¬ 
net blend well with the horns. The same 
may be said of the middle tones of the 
bassoon. 

The horn is often muted simply by run¬ 
ning the hand into the bell. This also 
changes the pitch a semitone, but the ar¬ 
ranger need not take that into account, as 
the player will know how to allow for it. 
Muting or playing “stopped tones” is not 
done simply for softness, hut gives a 
rather wierd and uncanny effect. There 
are many other interesting things to learn 
about the horn, but space does not permit 
us to speak, of them here in detail. 


Sometimes the highest notes are written 
in the tenor clef. 

The lowest notes, as far as to the first 
E or F, are very powerful, and can 
scarcely be played softly; the mxt octave 
is of a rather neutral character, yet blends 
well with everything; the highest octave 
has the character of a sympathetic tenor 
voice. The bassoon is a most useful and 
versatile instrument. It blends well with 
anything and everything, can play rapid 
passages without much trouble, and has 
great power over staccato effects and 
phrasing of all Sorts. Heard as a solo 
instrument, however, the tone is not of any 
great beauty, except in the tenor register. 
Its lower notes may even be given a sort 
of “comedy” effect, if plAyed harshly. The 
bassoon part in an arrangement will have 
a rough resemblance to a violoncello part. 

The French Homs 

In symphony orchestras there are 
usually four French horns; but two are 
all Haydn and. Mozart ever called for, and 
two is a sufficient number for a small 
orchestra. One, however, would be too 
few, and only an aggravation, as much of 
the beautiful effect of horns depends on 
their playing in pairs, forming chords. 

The horn, as used in these days, is a 
transposing instrument “in F”—that is, it 
sounds five notes lower than written. Sup¬ 
pose your piece is in the key of D, you 
must use the key of A for the horns. 
Every note that is on a line (in the origi- 


The Saxophone 

This instrument forms no proper part of 
an orchestra, being really a “brass band” 
instrument. However, as there is at pres¬ 
ent a fad for its use, especially in dance 
music, it seems in place to give brief direc¬ 
tions for its treatment. Its nominal com¬ 
pass is practically the same as that of the 
oboe (which see Part IX), but it is a trans¬ 
posing instrument, existing in several 
forms, of which those here mentioned are 
the most common. The “C” or “melody” 
saxophone sounds just an octave below the 
notes written, consequently involves no 
change of key. It plays a part much like 
the violoncello, but is written in the treble 
clef. 

The “B flat” saxophone involves a trans¬ 
position similar to that of the clarinet 
in that key (see under “Clarinet” in Part 
• III), but with this important difference, 
that instead of being simply a tone lower, 
it is an octave and a tone lower. 

The “E flat” saxophone sounds a major 
sixth below the notes written. In arrang¬ 
ing for it one needs three more sharps or 
three less flats than in the original piano 
part, and to put everything up a sixth. 
Thus, suppose you wish to arrange an “E 
flat” saxophone part for Moszkowski’s 
Serenata— (I hope you don’t, but if such 
is your curious desire)—then you will 
need (2 + 3) = 5 sharps in your signa¬ 
ture. As will readily be seen, these last 
two saxophones are rather better adapted 
to “flat” keys than to many sharps. If you 
(Continued on page 216.) 



E’en as the 
Flower 


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If You Would Love Me 

By JAMES G. MacDERMID 

This song, now definitely associated with 
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Price 40c. 

Two Tiny Bits of Heavens Blue 

By CHARLES WHITCOMB and 
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CHORUSES AND COLLECTIONS 
for WOMEN’S VOICES 

A VERY FEW NUMBERS ARE SUGGESTED HERE AND EACH ONE 
HAS ESPECIAL MERIT. WE SHALL BE GLAD TO SEND ANY OF 
THESE OR OTHERS FROM OUR CATALOG FOR EXAMINATION. 
TWO PARTS 

No. 

15665 Butterfly Blue, A. Arthur I 


15725 Ecstasy. J. A. Fernandes... 
10477 Oh, for a Thousand Tongues 
to Sing. John B. Grant.... 
15716 Gypsy ^Trail, The. Galloway 

10926 Light of r Home, The'.'' Verdi 

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20012 On to the Hills. Richard J. 

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R. R. Format 
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159 Dance of the Pine Tree Fai 
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10780 Over the Waves We Softly 

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10586 Pierrot. Jessie Johnston ... 
15532 Song of the Sea, A. R. M 
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15526 Spring Has Cor 


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15525 Star of the Night. 

10723 We Are * Fairies.' 
15517 Winter” Night,' A! 


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15597 Summer ”ldyl' (Violin Obb. 

IV. Berwald .).... 

10640 Sweet Miss Mary. IV. H 


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Page, 21J, MARCH 1922 


THE ETUDE, 


A Concise Chronological List of American-Born 
Composers and Music Workers 

Prepared Especially for the Music Club Issue of The Etude 

By ROSE FRIM 

Please Read This Introduction Carefully 

artists and educators—that is, teachers of making State lists. It also indicates the 
large influence such as important pro- gradual spread of musical culture from 
fessors in colleges. Here again we note the geographical standpoint since music 
that the author has made omissions which workers usually spring from musically 
are regrettable owing to lack of attention inclined parents. 

paid by several musicians to requests In this list the following States have 
for information. contributed the following quotas to our 

IVhy are several of the leading women national musical history. 


(Editor’s Note: All chronological lists 
compressed within the limits of a journal¬ 
istic publication must suffer from omissions. 
The folloiving list is utilized in "The 
Etude’’ because it seemed to be fairly 
comprehensive. It is not impossible that 
this list may be published separately later 
in pamphlet form and we shall be glad 
to hear from our friends of any music 
workers omitted who have had what might 
be called a “really historical part” in the 
upbuilding of American music. These 
we shall undertake to add to the list if 
they seem worthy. 

In this list it will be noted that the 
latter part is devoted largely to composers, 

Benjamin Franklin, (1706), invented 
Harmonica for which Gluck, Mozaxt 
and Beethoven wrote. Boston, Slags. 
James Lyon, (1735-1794), made song 
collections with a few, original 
melodies. Newark, n. J. 

Franeis Hopkinson, (1737-1791), 

First American Composer. Phila¬ 
delphia. I»n 

W illiam Billings, (1746-1800), Pioneer 
Singing Leader. Boston, Mass. 

Isaiah Thomas, (1749-1831), printed 
first music from type. Worcester, 

Md«. 

Holyoke, (1763-1820), 


composers omitted? Simply because this 
is a chronological list and the dear ladies 
refused point blank to give the dates of 
their birth. In a chronological list dates 
are indispensable. 

One feature of this list is the emphasis 
given to the State in which the musician 
was bom. This will help club leaders in 

George Frederick Bristow, (1825- 
1898). Violinist, organist, con¬ 
ductor, composer. Brooklyn, N. V. 
Stephen Collins Foster, (1826-1864). 
Immortal composer of songs in 
folk song type. Pittsburgh, Pa. 

--- Phelphs, (1827 .. " 


Massachusetts . 73 

New York . 56 

Pennsylvania . 38 

Ohio . 27 

New Jersey . 11 

In looking over the. influential names 
in American music, one is impressed with 
the great part done by foreign born 


Organist and composer. Middle! 


teacher, tune compiler, Shirley, 

Mas 

Benjamin Holt, (1774-1861). Hymn 
writer, founder and conductor of 
the Handel and Haydn Society. 
William M. Goodrich, (1777-1833). 
First notable American organ 
builder. Templeton, Mnsi 

John White, (1785-1865), Noted 
violin maker. Abington, Masi 

Benjamin Cross, (1786-1857). Singer 
teacher, founder and conductor 
of the Musical Fund Society. 
Philadelphia, Ps 

Benjamin Crehore, (-d. 1819). 

teacher and maker of cellos and 
harpsichords. Milton, Mass 

Thomas Smith Webb, (_d 1819). 

. One of founders and an early con¬ 
ductor of the Handel and Haydn 
Society. 

Thomas Hastings, (1787-1872), Fam¬ 
ous hymn writer and maker of 
tune books. Litchfield, Conn 

Lowell Mason, (1792-1872), Hymn 
writer, teacher, leader. Medfield, Mass 
Sylvanus Billings Pond, (1792-1871). 
Piano maker, tune compiler, 
founded Wm. A. Pond & Co., 


George William Warren, (1828- 

.1902 . Noted organist. Albany, N. Y. 

Luther Whiting Mason, (1828-1896). 
Important music supervisor. 
Turner, Me. 

William Wallace Kimball, (1828- 
1904). Piano and organ maker. Me. 
James Cutler Dunn Parker, (1828- 
1916). Composer, organist teacher, 


John Comfort Fillmore. (1843-1898). 

Theorist and writer. Franklin, Coi 
Thomas a Beeket, (1843-1918). Pian¬ 
ist and editor. Philadelphia, 1 
Amy Fay. (1844). Pianist and teacher. 
Bayou Goula, ] 

George L. Osgood, (1844). Teacher, 
conductor, composer. Chelsea, Ma 
Carlyle Petersilea, (1844-1903), 
Pianist, teacher. Boston, 

David M. L * ..- 

poser. Ne 


ser new Yorl 44 ‘ 1914) - Colr 
B. Trowbridge, (1845-1912).' 




Mass 


pianist and educator. New York, N'.Y. 
Louis Moreau Gottsehalk. (1829- 
1860). Pianist and composer. New 


manufacturer. New Ipswich, N. H. 
ttenry Kemble Oliver, (1800-1885).. 
Teacher and conductor. Beverly, 

Ma 

Ureli Corelli Hill, (1802-1875). Violin¬ 
ist; organized **-- ' T — ^—'- 


Harrison Millard, (1830-1895). Singer 
and composer. Boston, Mass. 

Henry Mason, (1831-1890). Piano 
and organ maker. Boston, Mass. 

Charles Crozat Converse. (1832- 
1918). Composer, Warren, Mass. 

Henry Caly Work, (1832-1884). War 
song composer. Middletown, Conn. 

Henry S. Perkins. (1833-1914). 
Musical educator. Stockbridge. Vt. 

Michael H. Cross, (1833-1897). Noted 
organist and conductor. Phila¬ 
delphia. p a . 

Eben Tourjee, (1834-1891). Famous 
musical educator. Warwick, R.l. 

Hart Pease Danks. (1834-1903) 
Singer and popular composer of 
religious an secular music. New 
Haven, Conn. 

George Putnam Upton, (1835-1919). 
Critic. Roxbury. Me. 

Myron William Whitney, (1836- 
1910). Famous operatic and con- 

-* basso. Ashby, Mass, 

■ ” 'is. (1837-1895). 


Composer, Newton, ' ’ Mi 

Alice C. Fletcher, (1845). Valuable 
research in American-Indian music. 
Boston, ms 

Frederick W. Root, (1846-1916), 
Organist, voice teacher. Boston, Ms 
E. J. Myer, (1846). Noted writer on 
voice. York Springs, 

Lucien Gates Chaffin, (1846). Organ- 
ist, critic, composer. Worcester, Ms 
William Henry Dana, (1846-1860). 
^ Theorist, educator. Warren, 

ia Organist and^composer. 


publisher. Boston, _ 

George N. Allen, (1812-1877). Teacher 
composer, conductor. Cincinatti, 
Francis Boott, (1813-1904). Com¬ 
poser, musical philanthropist. 
Boston, Mass. 

John Sullivan Dwight. (1813-1893). 
Noted musical journalist. Boston, 

Mass. 

William Henry Fry. (1813-1864) 
Composer and journalist. Phila¬ 
delphia, Wo_ 

Silas Bralnard, (1814-1871). 

publisher. Lempster, 

*- - - (1814-1890). 


Charlc„ „. __ , 

Pianist. Philadelphia, 

S...IC 1C “ennfleld, (1837-1920 
3 teacher. Oberlir 

. - -- --Jinson Lang, (IS 

1909). Organist, pianist and c„,.- 
ductor. Salem, Ma 

W. S. B. Mathews, (1837-1912). Noted 
musical educator. New London. N. 
Benjamin C. Blodgett, (1838 _). 


1882). Pianist composer. Cleve¬ 
land, 

fames Remington Fairlamb, (1838- 
Orgamst and composer. 


Music 


, (1816- 

facturer. York, 

Alexander Wheeloek Thayer, (1817- 
1897), Author of masterly life of 
Beethoven. Natick, Mi 

Daniel Decatur Emmett. (1818-1904). 
Minstrel, wrote “Dixie.” Mt. 

Luther Orlando Emerson, (1820-1915) 
Hymn tune writer and conductor. 
Parsonfield, ] 

George Frederick Root. (1820-1895). 
Organist, teacher, publisher. Shef¬ 
field, Mt 

Charles Callahan Perkins, (1823- 
Itic and organizer. 


\. H. 


Hugh Archibald cTa'rke, a83T- U ‘ B “). " 
Organist, conductor, theor - ' 


3 organist. Pittsburgh.’ Pa. 


organist and c 


Portland, lne 

Junius w. Hill, (1840-....). Pianist 
and teacher. Hmgham, Mass. 

Oscar Weil, (b. 1840). Composer 
and critic. Columbia Co., \. Y. 

Stephen Albert Emery, (1841-1891) 
Noted musical educator, Paris Me. 
----an, (1841-1915). 


1886). Music ci 


Montreal, 


Musical scientist. Salem, Mass. 

Henry F. Miller, (1825-1884). Organ¬ 
ist and piano maker. Providence, R. I. 
Henry Stephen Cutler, (1825-1902). 
Noted organist. Boston, Mass. 


—-nuel Prov 

Noted org_ _ 

George Elhrldge Whiting.' (1842- 
....). Organist and teacher. 
Holliston, Mas 

Samuel Brenton Whitney, (1842- 
1914). Noted organist. Woodstock, 

Sidney Lanier. (1842-1881). Poet; ' 
fine musical amateur. Macon, G 


William Wallace Gilchrist, (1846- 
1916). Noted composer, organist 
and teacher. Jersey City j 

Silas C. Pratt. (1846-1916)'.’ Pianist' 
and composer. Addison, v 

A, Th e e d oris J t-. <18.47-1920). 

Albert Ross, Parsons, (1847). Pianist, 
editor, teacher. Sandusky, 

Edward Morris Bowman, (1848-1913). 
Noted teacher, pianist, organist 
Barnard, ’ 

William Foster Apthorpe. (1S4S-1913). 

Critic, teacher, author. Boston, Ma 
Louis Charles Elson, (1848-1920). 

Teacher, critic, editor. Boston, Ma: 
Nathan Hale Allen, (1848). Concert 
organist.. Marion, Mai 

Vleck Flagler, (1848- 
1909). Organist, composer, teacher 
and lect urer. Albany, v. 

W Cre* t'ine McC ° y ’ ^ 4 ^ 49 1' Composer. 
Samuel Winkley Cole. (1848) 

. Educator. Meridan, v T- 

Frederiek Grant Gleason. (184s! 

. 1903). Organist, teacher, composer 

critic. Middletown, c„ lln 

Theodore Presser, (1848). Educator, 

• .Jssspiaprisvnst"®;.- 

Samuel S. Sanford, a ° (1849-1910). N# Y 

Concert pianist, educator. Bridge- 
Antoinette Sterling:, (1850-1904 
Famous contralto.. Sterling-ville. 3V.1 
^^crittc M< Coium^^ Conductor and 
Ja cnmn Carr011 Bartle1 *- <1850). Song 
singer. Harmony? 1, t6aCher ant > „ 
Emma Abbott. (1850-1891). Noted 
operatic soprano. Chicago, ] 

Jn te e !ch£ rda ^i„fSi Ci Singer aad 
H Gree E n dd Md, (1851) ’ N ° ted 
Organist and educator. Manvfne^ R 
J °Mo^r" attStaedt ’ (1851) ' Educator, ' 

J °Dilnis't a tea , c e he e ’ ° ^.V 918 ’- Blind" 
pianist, teacher, critic. Maysvflle. Kv 
John Carver Aiden, (1 S 5 “>) f«nm 

poser and teacher. Boston Ma. 
H t?. r > . 5“ Hanehett. (1853-1918) 
Syracuse 0rSani ' St ' lecturer ' teacher.' 

^ ^^r,*organi st,' teachtm, 

Pe cr 0 itic ( i°nd C ?heor-'W Teach ^" ,! 
critic and theorist. Paterson, iy. 

John W. Bisehoff, (1850-1909). Noted 
blind organist, teacher and c 
poser. Chicago, 


musicians. Many, indeed, have come to 
America at such an early age that prac¬ 
tically their entire musical training has 
been in this country. Who, for instance, 
ever thinks of Loeffler, Kinder, Matthews, 
or even Victor Herbert as anything but 
American in these days. Nearly two- 
thirds of Herbert’s life and all his impor¬ 
tant work has been done in America. This 
has also been the case with Joseffy, Stock, 
and many others who take pride in calling 
America their home and deserve this rec¬ 
ognition. However, this is strictly ah 
American born list and shows what we 
have actually produced 'with native 
material.) 

Herbert W. Greene, (1851). Singing 
teacher, editor. Holyoke Mass 

Calvin Brainard Cady, (1851). Ed¬ 
ucator. Barry, jy 

Hamlin E. Cogswell, (1852). Music 
supervisor. Silverlake. 

Henry II. Dunham, (1853). Noted 


_ ist, conductor. ( 


- Brock tor 

S (1853). Vio 


,.(1854). Eminen 


A. M. I . 

Pittsburgh, 

John Philip So__ 

conductor. Wash...„. 

Emma C. Thursby, (1854.) Noted 
concert soprano. Brooklyn, v 
Philip Hale. (1854). Critic. Norwich 
Henry E^Krchbie', (1854). Critic. 

William H. Sherwood, (1854-1 i) 11 L*' 
B»«la Arthur RusselL (1854*). Organ- ' 
Newark? eI% conductor ’ theoust. 
Henry T. Finek, (1854). Eminent 
critic. Bethel, j 

Philip Cady Hayden, (1854). Music 
supervisor, editor. Brantford C 
Henry Albert Lang, (1854). Com¬ 
poser. New Orleans, 

Angelo M. Read, ( 1854 ). Com¬ 
poser. St Catherine's C: 

George Whitfield Chadwiek. (1 854). 
Composer, organist, conductor 
educator. Lowell. via 

M. L Epstein, (1855). Educator. 

Mobile, \ 

William James Henderson. ( 15 ) 
Noted critic. Newark. N 

Edward Baxter Perry, ( 1 s 5 5 ) ' 
Blind composer, writer, pianist 
Haverhill, via 

William Rogers Chapman, (1855) 
Conductor. Hanover, via 


Wilson George Smith, (1855). Com¬ 
poser teacher critic. Elyria. 

Wary Turner Salter, (1856). So¬ 
prano, composer. Peoria, I 

Sumner Salter, (1856). Organist, 
educator composer, critic. Bur- 


York, 

J °Cl*evekind eCk ’ ^ 1856 ^' Composer, 

George Templeton Strong, (1856). 
Composer. New York. N. 

K tor S 'Hamnton en ' (1S56) ' Bduca - 
1856 ). Organist, 
vr. Cambridge. Mai 
1856). Organ- 


teacher, coi 

John Hyatt I _ ... J_ 

ist and composer. Brooklyn. N. Y. 

Sam Franko, ( 1 8 5 7_). Noted 

violinist and conductor. New Or¬ 
leans, La . 

Julie Rive-King, (1857). Eminent 
Piano virtuoso. Cincinnati, O. 

Henry Sehoenfeld, (1857). Composer 
Milwaukee, wis. 

Waldo Selden Pratt, (1857). Teach- 
er and historian. Philadelphia. Pa. 

Beniamin Cutter, (1857-1910). Vio¬ 
linist, composer. Woburn. Mass. 

David Scull Bispham. (1857-192(1). 

PhTlidelphia. American baritone. ^ 
Ca ,S! Valentine Laehmund, (1857). 
Pianist, teacher. Booneville, Mo. 

H Rogers, (1857). Noted 
composer, organist critic Fair 
Haven, Conn. 

. Jol,ns i (1857). Composer. 
Fa P ™ cl , ,„ teacher - Newcastle, Del. 

Edgar Stillman Kelley, (1857). Fa¬ 
mous composer, teacher. Sparta. Wis. 
Gustave Kol,be, (1857-1918). Critic. 

New York, \.Y. 

Harry Bone Shelley, (1858). Com- 
poser organist. New Haven. Conn. 

i to be concluded in the April Issue.) 


THE etude 


MARCH 1922 Page 215 



chools and Colleges 

MIDDLE WEST 



Lawrence Conservalory of Music 

(A department of Lawrence College) 

Offers complete courses in Piano, 
Violin, ’Cello, Organ, Voice, Theory, 
Composition, Appreciation, Expres¬ 
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Music Course, Normal Courses for 
Piano and Voice teachers. 

A distinguished faculty of 20 artists. 

FOR CATALOG GIVING DETAILED INFORMATION ADDRESS 

Carl J. Waterman, Dean Appleton, Wis. 



VALPARAISO UNIVERSITY 

T SCHOOL OF MUSIC 

VALPARAISO ( Accredited) INDIANA 

The University School of Music offers courses in Piano, Voice,Violin, 
Organ, Theory and Public School Music, Students may attend the 
Music’School and also take the regular work at the University. 

THE EXPENSES ARE THE LOWEST 
Tuition, $36.00 per quarter of twelve weeks. Board with Furnished 
Room, $80.00 per quarter. Catalogue will be mailed free. Address 
John E. Roessler, President. 

SUMMER TERM STARTS—MAY 30th, 1922 


Michigan State Normal College Conservatory of Music 

S YPSILANTI, MICHIGAN 

Courses in singing, piano, organ, violin and theory. 

Courses for training supervisors and teachers of public school music. 

Total U l'k'i^g le expen8ea ll n e e^ r noteroeSfsix dollars^er^week. Tuition and fees exceptionally low. 
CONSERVATORY OF MUSIC,°BOX 9,"YPSILANTI, MICHIGAN 


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UNIVERSITY 
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Courses in all branches of music, including piano, 
voice, theory, violin, harp, wind instruments, etc. 
Special “Public School Music’’ course fitting 
young women for positions. 

Faculty of collegiate standing and international 
training. 

Delightful dormitory for girls on college campus. 
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Governed by Influential Board of Trustees 


SIGHT READING 

MADE EASY FOR PIANISTS 


P IANISTS c 

reader, by 


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Satisfaction Guaranteed or Refund made 

DANFORD HALL J, 8 .„Va„. CHICAGO 


CHICAGO COLLEGE 

-OF- 

MUSIC 

ESTHER HARRIS DUA, President 

27TH YEAR START NOW 

Offers academic courses and private lessons 
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1234 Kimball 


and 160 Pa 

‘^“Tg^DUA, Mi 


The COSMOPOLITAN 
SCHOOL of MUSIC 
and DRAMATIC ART 

16th Floor Kimball Building, Chicago, III. 
DR. CARVER WILLIAMS, President 

An eminent faculty of 60 artists offers to 
prospective students courses of study 
based upon the best modern educational 
principles, also courses in collegiate studies 
for students unable to attend university. 
For information, address Dept. E 
E. L. STEPHEN, Manager I 


Should Music Pay? 


frank talk on a little-discussed 
subject of vital importance 


T HE Sherwood Music School 
sincerely believes that a 
musical career should be a 
financial as well as an artistic 
success. 

A School’s Responsibility 

I T also believes that a school’s 
responsibility to a pupil does 
not cease until that pupil is 
successfully launched on his 
chosen career. 

With that aim in view, the 
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gives the pupil the finest kind of 
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Teaching Position Guaranteed 

B ECAUSE of its 1043 branch 

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crative teaching position to all 
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agencies we are able to offer 
concert and recital opportunities 
for those who are ambitious and 
fitted for public appearance. 

The “School of Opportunity” 

/GRATEFUL graduates have 
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it has lived up to that inspiring 
name. 


guarantees a lu- 

Special Summer Session Offer 

In keeping with its founder’s desire to give much for little, the 
SUMMER SESSION of the Sherwood Music School holds a won¬ 
derful surprise for those able to come to Chicago for Summer work. 

Write for particulars about our special offer. The 
number that can be accepted is limited. Write to-day. 

Sherwood Music School 

Over 1000 Branches 

312 Fine Arts Building Chicago, Ill. 


Private Teachers 

bership is the Western Conservatory may provide rejular 
Conservatory SSsll H«Tl?' Chicago. 

ajaaironaMBW 


WALTER Sl’RV 

Eminent American Pianist 
and Teacher 


Offers something unique in the Lecture 
Recitals; Modern Music and ils Sources, 
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Suitable for Clubs and Schools. 


ASSISTANT DIRECTOR 

Columbia School of Music 

509 South Wabash Ave. CHICAGO, ILL. 


Minneapolis School of Music, 

ORATORY AND DRAMATIC ART 
WILLIAM H. PONTIUS CHARLES M HOLT 

Director, Dept, of MubIc Director, Dramatic Art 

60-62 Eleventh St.. So. MINNEAPOLIS, MINN. 

LARGEST SCHOOL OF ITS KIND IN THE WEST 



Where to Study this Summer ? 

work Ambitious students and progressive teachers will find unusual opportunities are presented for summer music study. 


See Summer School Announcements 

Pages 146, 147, 148 and 149 of this issue 


It is not too early to plan your summer w 


n THE ETUDE v 


















































































































Page 216 MARCH 1922 


Schools and Colleges 

Virgil Conservatory 

Virgil Method: Artistic, Reliable, Rapid 

Virgil “Tek” Full-sized Practice Instruments 
Two and Four Octave Portable Instruments 
1 in Suit Case. Perfect touch. Graded weight 
Studies and pieces, grades I to VI 


THE ETUDE] 

L.. b Schools and Colleges 

y wrange^or the “E flat' . 

e way would be, first b 


Virgil 


Virgil 

Unequalled for teaching and recitals 
Child’s pedal satisfactory and durable 
V irgll Catalogs. Inquiries solicited 

VIRGIL CONSERVATORY 

120 W. 72nd St., New York 


DUNNING SYSTEM 

The Demand for Dunning Teachers Cannot Be Supplied. Why? 




m”\j,?W R r's !0n ' ° re | g | 0 ”- T June 17 ’ Portland, Or agon; Aug. 1, 


Add ju C . y E Co J f u ’mbS. W 6 Sin 



Schools and Colleges 

mr'TDnT'r ^ 


Detroit Conservatory of Music 


48th Year 

Francis L. York, M. A., Pres. Elizabeth Johnson, Vice-Pres. 

Finest Conservatory in the West 

Offers courses InPiano, Voire, Violin Cello Organ, Theory, Public School Music and 
Orawm^, Ort lntot^tfon, Work baseij on bestjmodem^and educational 

Students may enter at any time 

For detailed information address 

| JAMES H. BELL, Secretary, Box 7, 5035 Woodward Are., DETROIT, MICH. 




DETROIT INSTITUTE OF MUSICAL ART 

I ---GUY BEVIER WILLIAMS, President_ 

A School which offers every advantage incidental to a broad musical education 
I 70 Artist Teachers, including 12 o 

Students May Register at Any Time 


lg members of the Detroit Symphony Orchestra 
For Catalogue, Address H. B. MANVILLE, Bus. Mgr 
5405 to 5415 Woodward Avenue 


TEACHER! Help yourself to SUCCESS 

by using the BURROWES Course of Music Study 

Classes conducted by 

Eva Frances Pike, D 2289 W. 15th St., Los Angeles, Calif. Kathryn Jamieson, D. 119 Powell Ave Toronto Ont 
Evaleen Parke, D 837 Clinton St., Carthage, Mo. Katharine Burrowes, D 246 Highland Ave., H. P., Detroit Mich! 
Write for Illustrated Booklets 


appealed to in the matter. No doubt he 
gave the little chap serious admonition on 
the sin of stealing, but after that he had 
the good sense to advise the boy’s parents 
to give him a musical education, and they 
apprenticed him to an organist in Exeter, 
named Jackson—the same one, by the way! 
who composed the Te Deum in F, which 
has Jong been a stand-by with many choirs. 
When he had grown older and his appren¬ 
ticeship was finished, he .went to London 
where he wrote a great deal of music for 
the theater—that is, “incidental music” for 
various plays, new and old. He also wrote 
a great many songs which were popular in 
their day. One of them, The Bay of Bis¬ 
cay is not yet quite forgotten. The boy’s 
name was John Davy. 

The great violinist Spohr coldly refused 
to receive as a pupil the afterwards famous 
Norse violinist. Ole Bull, because he failed 
to find any future promise in Ole Bull’s 
playing, when the latter applied to him for 
lessons in his early years. 

The Courtright oi<i»t >nd pr..u™i ,, s(em 

System of Musical to KT ^aS t °iaSu‘u t ? chers 
Kindergarten correspond 1 *' f “ r 

Mr.. Lillian C-irtright Card, 116 Edn. r ’Are!, n B < riJgl'pJrt, Conn. 


Crane Normal Institute of Music 

Training School for Supervisor! of Mu«ic 

BOTH SEXES 

Sht-singing, ear-training, harraon 


53 MAIN ST„ P OTSDAM, NEW YORK 

—College of Fine Arts- 

Syracuse University 


Revi C .?i;I°I Ue and f Y, n information, address 
Registrar, Syracuse University, Syracuse, N. Y. 


NO TEACHER “ despair 

of finding the 
exact educational material desired without 
h ~, t , Writmg our service department. 
THEO. PRESSER CO., Philadelphia, Pa. 


rauoiCAL AINU EDU¬ 
CATIONAL AGENCY 
MRS. BABCOCK 

QFFERS Teaching Positions, Col- 
Al. rf’ , Conservatories, Schools, 
ao Church and Concert Engagements 

CARNEGIE HALL, NEW YORK 


Please mention THE ETUDE when addressing our advertiser.. 


™ E 

Ad. Sec, 126 W. 79th St./w^Y "aTJ* M ’ TH URBER, C F^£' t hy Con *re„ 
-_ Ofl 


igress 

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THE etude 


Schools and Colleges _ 

PENNSYLVANIA. OHIO AND SOUTHERN 


COMBS CONSERVATORY 


PHILADELPHIA 


A SCHOOL OF INDIVIDUAL INSTRUCTION 

(Theoretical and Applied Branches Taught Privalely and in Claa.es) 

Because of its distinguished faculty, original and scientific methods, individual instruction hieh 
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Symphony Orchestras. Reciprocal relations wi^Univer 
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GILBERT RAYNOLDS COMBS, Director ° ffiC B,’ 0 ad"ndReed S?reeU Udi °* 


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Musical Academy 




iss CHARLTON LEWIS MUR1 


»#; 



Batjr. Directress, Cincinnati, Ohio 


55th YEAR Founded by CLARA BAUR 

Conducted according to methode of most 
progressive European conservatories 

Dramatic Art— MUSIC— Languages 

. * Faculty of International Reputation 

litrfir 

Exceptional advantages for post¬ 
graduates and repertoire work. Department 
of Opera. Ideal location and residence 
department with superior equipment. 


DANA’S MUSICAL INSTITUTE 

WARREN, OHIO 

THE SCHOOL OF DAILY INSTRUCTION IN ALL 
BRANCHES OF MUSIC 


Addreaa LYNN B. DANA, President 


Desk E, WARREN, OHIO 




ttrated. book. Address 


JLk 



jf ^ulsvUl e v 
CONSERVATORY 




ESTABLISHED 1857 


DFARnnV CONSERVATORY 

1 LnDUD 1 BALTIMORE, MD. 


HAROLD RAND OLPH, Director 

t America. 


One of the oldest and most noted Music Schools i 


Atlanta Conservatory of Music 

THE FOREMOST SCHOOL OF PINE ARTS 
IN THE SOUTH 

Advantages Equal to Those Found Anywhere 
Students may enter at any time. Send for 
Catalog. GBO. F. LINDNER, Director 


MR. and MRS. CROSBY ADAMS 

Annual Summer Clags for Teachers of Piano 
for the Study of Teaching Material 
July 27—1922—August 11 

Write for booklet 

MONTREAT, NORTH CAROLINA 


MARCH 1922 Page 217 



A LIST OF NEW ISSUES 

RECENT PUBLICATIONS FOR PIANO SOLO, FOUR HANDS, 
VIOLIN. PIPE ORGAN, VOCAL SOLO, CHOIR AND CHORUS 

When Ordering Any of These Publications it is only Necessary 
to Mention Presser Publication and Give Catalog Number. 


PIANO SOLOS 


VOCAL SOLOS 


JUVENILE PI 
Piano Composit 
By MILTON D. 

17926 Down the Hill,"March. 

17925 Christmas Eve, Walt.. 

17927 Wild Roses, Walla. 


GURLITT-ROLFE 
i First Piece of the Star Performer. 
JOHNSON, WALLACE A. 

I Melody of Peace.Op. 

KERN, CARL WILHELM 

7978 Swallow’s Flight, The. 

KROEGER, E. R. 

7969 Return of the Peasants, The. 

KRONKE, EMIL 

7949 Dance Souvenir, A, Valse. 

McDonough, f. j. 


OEHMLER, LEO 

i Serenade in a Sylvan Glade.3K 

REINHOLD, H. 

8074 Butterfly.Op. 39, No. 23 3 

8073 Gondolier..Op. 39. No. 19 3 

ROLFE, WALTER 

Jack-i‘ii- the-Box.3 

SARTORIO, A. 

Fortunate Circumstance.3 

7361 Gipsy Camp, The.4 

te“:::::o,i 2 i7;:lK 

WARD, HERBERT RALPH 

.... Cheerfulness....2* 

8002 A Merry Party. ZA. 

PIANO DUETS 


Jo .8006 



IDANCES FROM MANY LA 
Seven Original Four Hand Compo: 
ByjA. SARTORIO 

Grade 3K 

17645 Hindoo Dane 

17646 Mexican Dai 

17647 Congo Dance 

17648 Italian Seen. 

17649 Hungarian Ci 

17650 Polish Mazur— 

17651 Tyrolean Dance 


1 Leafy^June ia'Here in Beauty. . 

MEN’S VOICES 


zm^~z 


THEODORE PRESSER CO. 

1710-1712-1714 Chestnut Street 


S AND I 

PHILADELPHIA, PA. 


Special Notices ^Announcements 


WANTED and FOR SALE 


TO CHAMBER MUSIC ORGANIZA¬ 
TIONS—Well-schooled Flutist, not at liberty, 
but will consider location where there is oppor¬ 
tunity to play. Good Chamber Music Prop¬ 
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of Violin, ’Cello, Flute and Piano. Good 
education, best of references, and music to be 
a side line. Address Flutist, care The Etude. 


ANNOUNCEMENTS 


MRS. 

Recitals. _ . 

Morgantown, N. C. 


INGOLD, A. G. O. Organ 


VOCAL LESSONS GIVEN in exchan 
small services. Write E. A., care of I 


? for 


able to direct choir. Address E. A. W., i 
The Etude. 


instruction. L. 


PURE FOOD PRODUCTS 


, jnized_„„ _H 

modern piano accompaniment. Band and or 
chestra arranging, any size up to modern 
Symphony Orchestra. Send manuscripts. J. 
Rode Jacobsen, 2638 Milwaukee Ave., Chi¬ 
cago, Ill. 

HARMONY, COUNTERPOINT. OR¬ 
CHESTRATION lessons by mail. Individ¬ 
ual attention—no “form letters.” Edwin 
Hall Pierce, 2 Wheeler St., Auburn, New York. 

MUSIC COMPOSED. Send words. Manu¬ 
scripts corrected. Harmony, correspondence 
lessons. Dr. Wooler, Buffalo, N. Y. 

ARRANGING AND CORRECTION of 
MSS. a specialty. A. W. Borst, 3600 Ham¬ 
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“RAGTIME AND JAZZ” piano-i 


-playing in 
d. Lntona 


Please mention THE ETUDE when address: 






































































































































































































THE ETUDE 


-Page 218 MARCH 1922 

“The Keystone of Every Worth-While Music Library’ 

Grove’s Dictionary of Music and Musicians 

WITH RECENT AMERICAN SUPPLEMENT 
Six Large Volumes-Illustrated-Bound in Cloth 
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What the “Encyclo¬ 
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More convincing than many 
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of this place, Grove’s Dicti 




An Investment a Music Lover Never Regrets—The Purchase of a “Set of Grove’s” 


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Bantock, Frederick Corder, Sir Walter Parratt, Sir G. A. Mac- 
farren, Sir John Stainer, Frank¬ 
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The biographical . sections of 
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THEODORE PRESSER CO., 
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PHILADELPHIA, PA. 







MARCH 1922 Page 219 




JUNIOR: 3 ’ 

ETUDE 

^ CONDUCTED BY ELIZABETH A GEST 



How many of you belong to a Junior 
Music Club? 

You know, this is the age of clubs, and 
most of them are very fine organizations 
and do lots of good, both for their own 
members and for those who receive their 
benefits. The Women’s Clubs, for in¬ 
stance, do a great deal for the benefit of 
their own towns, and they are also respon¬ 
sible for promoting a great many fine 
concerts in the towns. 

Now the Juniors are starting clubs and 
organizations. There is the Junior Red 
Cross, and the Scouts, and all sorts of 
clubs for boys and girls, and best of all— 
Junior Music Clubs. If you do not 
belong to one already, get busy and start 
one this month. Call all of your friends 
together on a certain day, and ask them to 
bring others. If your own house is not 
a good place for this, appoint some other 
meeting place. 

You had better talk it over with your 
teacher first, and be sure to have her come 
to the meeting, for she will give you lots 
of suggestions. If you do not take music 
lessons yourself, ask your best friend to 
bring her teacher (and by the way, you 
should arrange to take lessons just as soon 
as possible). The teacher, or someone’s 
mother can act as chairman and explain 
a little about the objects and advantage 
of belonging to a Junior Music Club, and 
then you can elect your officers. 

The advantages of Junior Music Clubs 
are. that they give young people an oppor¬ 
tunity of coming in frequent contact with 
others of about the same age who are 
interested in music; they give them an 
opportunity to hear music more frequently; 
they are an incentive for learning more 
about music and the composers of music; 
in such clubs the young people gain valu¬ 
able experience in playing with and before 
others (more so than the occasional 
teacher’s recital) ; they give confidence to 
the performers and spread interest and 
enthusiasm among students; they present 
an opportunity for young people to conduct 
meetings a(png parliamentary lines; they 
cause a great many young people to “take 
music lessons.” Consequently, future 
musicians and music lovers and listeners 
can be developed in no better way than 
through the Junior Clubs. 

Nominations for officers should be made 
and then the voting should be done by 
writing the names on a piece of paper 
so that no one knows for whom you voted. 
Elect a President, Vice-President, Secre¬ 
tary and Treasurer, but be sure to elect 
those whom you are sure will make good, 
conscientious officers and come to every 
meeting. A secretary who only comes 
once in a while, or a treasurer who cannot 
add are worse than none. (If you do not 
feel well enough acquainted to pick out 


How to Get Up a Junior Music Club 


good officers at the first meeting, wait 
until the next, and have some one act as 
chairman until they are elected.) 

Then the President must appoint the 
chairman of committees—program com¬ 
mittee, membership, room committee (to 
arrange the chairs, etc.) and any others 
you may want. She must also ask the 
members to express their choice of meeting 
place, and how often the meetings shall 
be held, and try to please the greatest 
number. 

She should also appoint a committee to 
draw up some very simple constitution 
and a set of by-laws, and after discussing 
them at the next meeting, vote on their 
adoption. It would be well to read up 
the question of adopting by-laws (for 
instance in Roberts Rules of Order), or 
perhaps your teacher or parents can tell 
you how to do it. Try to come as near 
the proper. method as you can, but do not 
bother too much about it. 

After you are organized you would 
probably like to join the National Federa¬ 
tion of Music Clubs, and feel that you 
belong to that great body that is doing 
so much for the cause of music all over 
the United States. 

See how many of you can start a Junior 
Club this month or next, and send an 
account of it to the Junior Etude. (Of 


course it is not necessary to be a regular 
Etude reader to do this.) 

N. B. Do not, in any case, let it inter¬ 
fere with your regular practicing! 

Duties of Officers 

The President must call the meetings to 
order and conduct whatever business there 
may be to attend to. In her absence the 
Vice-president takes her place. The sec¬ 
retary calls the roll, reads the minutes of 
the previous meeting, and sends out no¬ 
tices if this should be necessary. She 
must, therefore, have a correct list of 
names and addresses of the members. 
The Treasurer collects the dues and takes 
care of the club “funds.” 

Membership 

The members may be your friends, and 
your friends’ friends and their friends. 
You may put a limit on the age, if you 
wish to keep the members near the same 
age, and you may put a limit on the num¬ 
ber, if you wish. You may have a small 
club or quite a large one. Do not require 
the members to be solo performers, how¬ 
ever, for many who would enjoy belong¬ 
ing to the club cannot perform. The club 
may be for girls, or for boys, or both. 

Things to Do 

After the business part of tl.e meeting, 


Have You a 

In which one of the United States do 
you live ? Do you know the “pet name” of 
your states? You know many states, be¬ 
sides their real names, have other names, 
such as the “Sunflower State” or the 
“Hoosier State” or the “Keystone State” 
and so forth, 

And a great many states have their 
special color and flower. Do you know 


State Song? 

your state flower? And better yet, some 
states have their own songs, and very 
beautiful ones they are, too. Find out 
whether or not your state has its own song 
and then learn it—both the tune and the 
words. Look them rp and learn them 
if you do not know them, and sing them at 
your class and club meetings.. 



Your Own Musical Shelf 


ooks 1 




; all 


_ nf course, only music-books 

or books relating to music are to be counted 
this time, for of course you probably have a 
number of story books and books of general 

You should start a musical book-shelf, if 
you have never yet done so, for as you grow 
older you will surely want to own and enjoy 
a small musical library. 

It sometimes happens that we are asked by 
our fond relatives and friends what we would 
like for Christmas, or for a birthday-present, 
and sometimes the answer is nothing in 
particular, or even something useless or 
frivolous. If you ever have a chance tio answer 
such a question# again, say that you would 
like an interesting book for your musical 
library. Then you can add another from time 
to time, perhaps another birthday, or in 
your letter to “Santa Clausand, better 
still, save up and get one for yourself. Then 


soon you will have a collection of interesting 
musical books of which you can be proud. 

To begin with, you should have a well- 
written, not-too-long, easy-to-read, Musical 
History (such as Standard History of Music, 
by James Francis Cooke, or something sim¬ 
ilar). Then a small dictionary of music, 
including musical terms; and a book or two 
of short entertaining essays about music, or 
on musical subjects. If you play the violin you 
will want a book about that, and a book about 
operas and symphonies might be added. 
And sooner or later you will want a clear 
book on harmony. If you have started the 
study of harmony you probably have just 
what you need In this respect. And then short 
biographies of your favorite composers must 
be added of course, and you will be surprised 
how interesting these stories of composers 
are. Oh, there are endless volumes you will 
want and you cannot begin too soon to 
acquire them. 


the chairman of program should take 
charge, and ask certain ones to play or 
sing; others may be asked to recite or 
read a short composition on a musical 
subject. (All having been notified in ad¬ 
vance.) If the members are quite young, 
musical games will be greatly enjoyed. 
And perhaps you may know an older per¬ 
son who would come and entertain the 
club with a few solos. IN ALL CASES 
end your meetings with chorus singing, 
and have everybody sing. It is best to 
have an older person lead you in this, and 
if your teacher has not time she may 
know some one—perhaps one of her for¬ 
mer pupils—who would do it. But in any 
case, SING. 

Memory Contest 

At the end of the season, hold a “Mem¬ 
ory Contest” and give a prize for the one 
who recognizes the greatest number of 
selections (including the composer’s name) 
which may be played, sung or given with 
“records.” The club should select the 
numbers several weeks in advance, and 
announce what they will be, so that all 
may have an opportunity of becoming 
familiar with them, and recognize them at 
the contest. This is great fun, as well as 
educational, for you know how often it 
happens that you hear some one say “I 
know that piece perfectly well, but I just 
can’t think what it is.” 

Constitution and By-Laws 

You may use something like the follow¬ 
ing for a pattern when you are making 
your by-laws, but keep them as simple is 
possible: 

Constitution 

Article 1. The name of this club shall 
be -. 

Article 2. The object shall be to promote 
a greater interest and love of music 
among young people. 

Article 3. The board of management 
shall consist of the following: 

Director (Your teacher or some other 
“grown-up” person.) 

President, Vice-president, Secretary, 
Treasurer and chairman of committees. 
Article 4. This constitution may be a- 
mended at-. 

By-Laws 

Article 1. There shall be active and — 
- members. 

Article 2. Active members shall perform 
the duties assigned to them, take part on 
the programs when asked, and shall vote 
and hold office. 

Article 3. -members shall -. 

Article 4. Members must be between 
ages of and 

Article 5. The dues shall be -. 

Article 6. The club shall meet on-. 

Etc. Add other articles as you need them. 



















































































































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People’s Music Club,” of which I am a 
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